VIEW IN MY ROOM
United States
Printmaking, Etching on Paper
Size: 14 W x 11 H x 1 D in
Ships in a Box
Artist Recognition
Artist featured in a collection
THE PRICE OF THIS MATTED ETCHING INCLUDES A FRAME WITH GLASS THAT MEASURES FOURTEEN INCHES WIDE BY ELEVEN INCHES HIGH. THE BLACK PAINTED WOOD FRAME INCLUDES AN ACID FREE, WHITE MAT WITH BLACK INNER TRIM. MOREOVER, THE ARTWORK ARRIVES WIRED AND READY TO HANG ON YOUR WALL. The work was adapted from a photo taken in Budapest by the artist. Di Falco executed three graphite drawings of the photo before reaching his final plate design. Di Falco hand printed this edition, ONE of FOUR, at The Center for Works on Paper in Philadelphia, Pennsylvania. He limited each published edition to five etchings. Media includes French oil-base etching ink, RivesBFK white paper, and mulberry bark paper from Thailand. The image size, which also reflects the size of the zinc etching plate, is eight inches wide by six inches high, and the framed print paper is fifteen inches wide by eleven inches high. The etching depicts an architectural view of The Dohány Street Synagogue, Europe’s largest. The structure, built between 1854-1859 according to Ludwig Förster’s design, measures 75 meters long by 27 meters wide. The building’s style is blend of Moorish, Byzantine, Romantic, and Gothic. The Hebrew inscription is from Exodus, Chapter 25, verse 8 “And let them make Me a sanctuary that I may dwell among them.” Eight pointed stars decorate the building throughout, and eight is the symbolic number for God. The detail images pictured show print numbers TWO, FOUR, and FIVE of this edition.
Printmaking:Etching on Paper
Artist Produced Limited Edition of:5
Size:14 W x 11 H x 1 D in
Frame:Other
Ready to Hang:Not applicable
Packaging:Ships in a Box
Delivery Time:Typically 5-7 business days for domestic shipments, 10-14 business days for international shipments.
Handling:Ships in a box. Artists are responsible for packaging and adhering to Saatchi Art’s packaging guidelines.
Ships From:United States.
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United States
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.
Artist featured by Saatchi Art in a collection
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