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PINK DEATH - Limited Edition 4 of 5 Print

Jerry DiFalco

United States

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6 x 12 in ($100)

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About The Artwork

The 2nd and 3rd editions of this print were printed and published in 2017. The image is this intaglio and drypoint etching is based on a detail within an 1851 engraving by Alfred Rethel, who created the work based on the poetry of Heinrich Heine. Alfred Rethel executed the image of Death as a skeleton-figure playing a violin; moreover, this related to the fatal cholera outbreak at the Paris Carnival of 1832. As you can see, the violin is constructed from the bones of dead humans. This intimate print from Jerry Di Falco uses two etching plates, which are positioned on the printing press in a vertical diptych format with a separating space between them. The individual zinc plates measure 3 inches high by 2 inches wide, or 7.6 cm x 5.08 cm, and the overall image size is slightly over 6.5 inches high by 2 inches wide, or 16.5 cm x 5.08 cm. The paper measures about eleven by nine inches, or 28 cm x 23 cm. This is the FOURTH of FIVE Editions; moreover, each edition is limited to only five prints. The work has an interesting printing history, based on astrological positions in 2012, 2017, and 2018. The 1st Edition was printed in 2012 and contained ten prints. It was executed in silver oil-base ink on black Stonehenge paper. I printed the 2nd and 3rd Editions, which were limited to only five etchings each, in September of 2017. The first three editions used the studio techniques of just intaglio and drypoint. This 4TH EDITION etching was printed during the Full Moon of September 2018 and ALSO employs the Chine collé etching technique, which incorporates cherry-colored mulberry bark paper treated with methylcellulose. The 5th edition will be printed between the first two Full Moons of autumn in 2018. NOTE: THIS ETCHING IS SOLD WITH A FRAME & MAT. THE WORK IS PLACED IN A PROFESSIONAL CARDBOARD SHIPMENT BOX AND PACKED SECURELY WITH BUBBLE WRAP. THE SAATCHI-ON-LINE PRICE INCLUDES ALL REGULAR DOMESTIC (USA) SHIPMENT COSTS TO THE BUYER, AS WELL AS PACKING MATERIALS AND PAPERWORK.

Details & Dimensions

Print:Giclee on Fine Art Paper

Size:6 W x 12 H x 0.1 D in

Size with Frame:11.25 W x 17.25 H x 1.2 D in

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Delivery Time:Typically 5-7 business days for domestic shipments, 10-14 business days for international shipments.

Imagery and storyline—both vital components of my creative process—enable me to create a form of visual poetry. Consequently, photography is intricate to my artistic strategy, especially with regard to my etchings. In view of this, many of my printed images—accomplished via the studio techniques of intaglio, aquatint, drypoint, and Chine collè—originate from my own photographs, as well as ones I uncover during research into the archives of academia, historical societies, and museums. Upon locating a scene that fascinates me, I first sketch a few original drawings of the likeness, and next transfer that drawing onto my prepared zinc etching plate. NOTE: In my etchings that incorporate the Chine collè process, I use mulberry bark paper from Thailand, which is infused with Japanese kozo threads. The paper is also treated with methylcellulose. I endeavor to establish links between the metaphysical and physical worlds . . . between the realms of dream and reality . . . and between the natural and the fabricated. In a sense, I believe that art unveils everything that we mask behind our assumptions and biases . . . or rather, those realms we neglect—or refuse—to perceive. My label for our failure to examine these areas is, “The Phenomenology of Non-Connectedness", which I blame on today’s communicational tools such as Social Media, the Internet, texting on smart phones, and “tweeting”. MY ETCHING TECHNIQUE I work on metal etching plates treated with both hard and soft grounds. These grounds consist of mineral spirits, beeswax, oil of spike lavender, and other natural substances. After these grounds dry, I draw images with needles and other tools onto the plate. Next, the exposed areas are “etched into” the zinc or copper plate in a bath of Nitric Acid and spring water. An artist’s proof in then printed after the plate is cleaned; Moreover, two to seven additional plate workings, acid baths, and proof printings occur before my desired effect is obtained. When satisfied with my end result, I apply oil based etching ink onto the clean plate and then remove the excess ink with several wipes. Next, I align my etching plate onto the printing press bed and cover it with papers and press blankets. Finally, the plate goes through the press to obtain my print. This process is repeated until all editions are created. I usually create three to five editions of five or six etchings for each one of my plates.

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