View In A Room
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VIEW IN MY ROOM
VIEW IN MY ROOM
This acid-etched work represents the SIXTH STATION OF THE CROSS, which depicts Veronica cleaning the face of Jesus. There are fourteen STATIONS, a Lenten meditational tool in Anglican- & Roman-Catholic and Episcopal Churches that outlines Christ’s Death and Passion. I used the techniques of intaglio, drypoint, and aquatint; the print was executed using a mixture of black ink (oil-based, Charbonnel Brand) on Rives BFK tan paper (both manufactured in France). The print size measures 11 inches high by 15 inches wide (28 cm by 38.1 cm). The work was hand printed and published by the artist at The Center for Works on Paper in Philadelphia, Pennsylvania. Please note that this etching is shipped to the collector without a frame or mat. This keeps the price low and gives the collector a wide range of choices in the framing process. A sturdy cardboard box is employed for shipping the work. The etching is first wrapped in two layers of acid free glassine and then placed between two archival boards. This is next placed into the shipping carton and securely packed with bubble wrap. The SAATCHI price includes all handling costs, shipment supplies, and regular, domestic (US) mailing costs to the collector.
Print:Etching on Plastic
Artist Produced Limited Edition of:10
Size:15 W x 11 H x 0.1 D in
Packaging:Ships in a Box
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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