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Station of the Cross # 6 Print

Jerry DiFalco

United States

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About The Artwork

AVAILABLE FOR SALE ONLY IN PRINT FORMAT; THE ORIGINAL WORK ON CANVAS IS IN THE COLLECTION OF THE PHILADELPHIA EPISCOPAL CATHEDRAL. 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, which depict scenes from the final hours of Christ. They are executed as wall reliefs in plaster or wood, paintings, or sculptures. Roman Catholic, Episcopalian, and Anglican Catholic churches display them all year on their left and right walls. My STATIONS are mixed media wall assemblages executed on stretched, primed canvases. They incorporate many items from nature 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. Some of these photos were altered by hand or digital means. I also used original photos taken by myself. Station number SIX is entitled, VERONICA WIPES THE FACE OF CHRIST. This wall assemblage was executed in mixed media on stretched canvas. Veronica, a woman in the crowd that lined the way to Calvary, stepped in front of Christ and washed the blood and dirt from His face. According to Early Christian legend, an exact facial imprint of Jesus was immediately transferred onto her cloth. I wanted this canvas to have the appearance of an ancient wall. I wanted the viewer to feel as if she or he was looking into a timeless place, a place where the blood covered face of Christ still haunts humanity with unconditional love. I used only two colors in this STATION, which were crimson, representing the royal blood, and gold, to symbolize royal sacrifice. I used only two symbols, which were the face of Jesus and the segment of a real rosebush twig that was treated with polymers and dipped in gold dust. I hand painted the face on parchment and then scanned the image for duplication. Thirteen smaller versions of this image were attached around the central drawing via the use of natural glue. My other materials included metallic thread, acrylic polymer emulsions, acrylic paint, gloss acrylic gel, India ink, parchment, rice paper, gold dust, and stretched canvas over wood.

Details & Dimensions

Print:Giclee on Photo 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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