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Christ Meets His Mother: Station of the Cross #4 Print

Jerry DiFalco

United States

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About The Artwork

This mixed media artwork is from a series of fourteen stretched canvases entitled, THE STATIONS OF THE CROSS. All of the originals are from The Permanent Collection at THE PHILADELPHIA EPISCOPAL CATHEDRAL, which is located next to the campuses of Drexel University and The University of Pennsylvania (38th and Ludlow Streets, just north of Chestnut Street). These originals are not for sale, however prints of them are available through Saatchi On Line. The Dean of the Cathedral, The Rt. Rev. Judith Sullivan, and her clergy and staff sponsor a number of programs to help the local community; moreover, all of the artist’s proceeds from the sales of these prints will support the Episcopal Cathedral Weekly Food Bank, which helps to feed fifty local families. WHAT ARE THE STATIONS OF THE CROSS? These fourteen artworks act as Lenten meditation tools and depict scenes from Christ’s arrest through to his burial. They are executed as wall reliefs in plaster or wood, paintings, or sculptures. My STATIONS are assemblages executed on stretched, primed canvases. They incorporate many items including bones, seeds, rose stems, mammal skulls, and glazed sugar. No animals were harmed to obtain the bones, which were all found in nature. My works also include castings of objects that I created and photographic images I chanced upon on the streets or in trash dumpsters. I also used original photos taken by myself. I altered some of these images by hand or digital means. Station number FOUR is entitled, CHRIST MEETS HIS MOTHER ON THE WAY TO CALVARY. This wall assemblage was executed in mixed media on stretched canvas. Christ encounters his mother Mary, whose Hebrew name is Miriam, on the road to Calvary. I chose to focus on a close-up of Mary's face by digitally altering a color photograph that depicts a painted work by Albrecht Durer. I represented Christ here as digitally altered photographs of a developing fetus. I did this to emphasize a possible thought that Mary had while seeing her grown son at this moment. I felt that she might remember him as a seed within her womb. Her heart is broken as she studies her beautiful son covered in blood, dirt, and bruises. I actually envisioned Mary's delicate heartbeat stopping momentarily by this shock. Therefore, I employed two ribs from a baby deer to represent her heart. Moreover, I used a circuit board to represent our body's ability to restart our shocked heartbeats, even during times of trauma and shock . . . during the times when we feel utterly dead. I stitched a tall triangle of gold metallic thread over this circuit board to symbolize sacred geometry and Triune aspects of God. My media include bones, 24 karat gold metallic thread, acrylic polymers; acrylic paint; gloss acrylic gel; digitally altered photographs of a painted detail by Albrecht Durer, Kodak gloss paper, hand tinted silver print, black and white photos painted over with gold acrylic, found object, and, canvas stretched over wood frame.

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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