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Printmaking: Etching, Drypoint, Ink, Oil, Paper on Paper, Glass, Soft (Yarn, Cotton, Fabric), Other.
PRINT TWO OF FIVE; EDITION FOUR OF FOUR (2/5; EDITION IV/IV). Intaglio & Chine collé.
STORYLINE: This work was inspired by an 1853 etching by artist Charles Meryon (French, 1821–1868) from a portfolio entitled, “Etchings of Paris (Eaux-Fortes sur Paris)”. The specific print, was entitled THE VAMPIRE (Le Stryge) by Meryon. One print of this work is in the collection of the Metropolitan Museum of Art (although not on display) in New York City; H.O. Havemeyer Collection, Bequest of Mrs. H.O. Havemeyer, 1929.
As I studied and re-adapted each line of Meryon’s drypoint etching, I felt as if I was being pulled into another time . . . another realm . . . another mind-set. I made hundreds of changes in the lines, yet tried to follow the artist’s basic drawing technique. To Meryon, Le Stryge was a real being; I have always believed that vampires exist in the shadows of our blindness . . . as well as in the lines that cross our path. One of my favorite People of the Page is Anne Rice.
PRINT & TECHNICAL INFORMATION: This original etching was published and hand printed by Di Falco at The Center for Works on Paper in Philadelphia, Pennsylvania (US) as part of the Open Studio in Printmaking. I used a zinc plate (9 inches high by 6 inches wide or 22.860 cm by 15.240 cm) and several Nitric acid baths for this work. The RivesBFK white paper measures about 11 inches wide by 15 inches high (27.940cm x 38.100cm). Black and other colors of oil-based etching inks from France were carefully blended to craft my unusual hue.
THIS PRICE INCLUDES: THE MATTED ETCHING IN AN ARCHIVAL MAT; A FRAME (11 inch x 14 inch, Type – Glass & Wood Edge / Semi-Ornate Style, Color - Black); ALL HANDLING COSTS; SHIPMENT COSTS; CARDBOARD SHIPMENT CARTON; BUBBLE WRAP & OTHER PACKING MATERIALS; AND, A CERTIFICATE OF AUTHENTICITY. The work is wired and ready to hang. Framing includes a brown craft paper backing. A wall hook and nail are included.
My Chine Collé Process:
Methylcellulose powder is re-constituted by mixing it with spring water and then applying the clear viscous substance to hand-dyed mulberry-bark paper from Thailand (Brand Unryu); In Japan, Unryu translates as CLOUD DRAGON paper because it has long swirling threads of kozo fibers integrated in it, thereby giving the texture and visual effect of clouds. (Kozo fibers come the branches of the kozo (paper mulberry) bush, specifically the innermost of three layers of bark, which must be removed, cooked, and beaten before the sheets are formed. Kozo is harvested annually.) The treated Thai paper is then allowed to dry overnight and I cut it to fit the plate areas where I want color to exist in the print. These stenciled mulberry-bark papers are first dampened/misted with water and placed upon the already inked and wiped etching plate. The printing process continues, and a multi-colored image on paper resulting. This hand-done process is a difficult and laborious one, which I do myself every step of the way.
Artist featured by Saatchi Art in a collection