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The Kiss of Valencia - Limited Edition 4 of 5 Print

Jerry DiFalco

United States

Printmaking, Aquatint on Paper

Size: 11 W x 14 H x 1 D in

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About The Artwork

NOTE: PRICE INCLUDES A MAT AND FRAME, AND THE WORK ARRIVES WIRED AND READY TO HANG. PRICE ALSO INCLUDES ALL SHIPMENT COSTS. The artist refers to this etching as "photo-centric”, because its image is adapted from one of his original 35mm, black and white photographs from 1987, which was executed in one of Barcelona’s graveyards. The 1930 tombstone shows Death claiming a victim via a kiss. Di Falco first created two charcoal and powdered graphite drawings of his photo before working on his zinc plate, which measured 8 inches high by 6 inches wide. The print, done on RivesBFK paper, measures 15 inches high by 11 inches wide; a special blend of Charbonnel brand inks from Paris (five colors including 24-karat gold) was used in the printing. Three separate Nitric acid baths were required in the etching of this plate, which incorporated the studio techniques of intaglio, Chine colle, and traditional aquatint. The artist first filed the etching plate's edges and corners to a forty-five degree angle and then coated it with a hard liquid ground of organic beeswax, oil of spike lavender, and pure mineral spirits. He transferred his drawing onto the zinc plate and then etched the lines into the ground with needles, a process called INTAGLIO. The plate then underwent a Nitric acid bath; during this, the acid eats into any exposed lines and creates the first image. The plate was next cleaned with turpentine and then printed on a free-standing, table-sized Charles Brand Company Printing Press, manufactured in New York City. This print is from the 4th edition of 5 Editions; moreover, each of the five editions is limited to only four etchings. A hand dyed, mulberry bark paper from Thailand was used in the Chine colle process. The work was created, printed, and published at The Center for Works on Paper (705 Christian Street) in Philadelphia, Pennsylvania, within THE OPEN PRINTMAKING STUDIO on The Fleischer Art campus.

Details & Dimensions

Printmaking:Aquatint on Paper

Artist Produced Limited Edition of:4

Size:11 W x 14 H x 1 D in

Shipping & Returns

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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