view additional image 1
View in a Room ArtworkView in a Room Background
view additional image 3
view additional image 4
view additional image 5
65 Views
0

VIEW IN MY ROOM

Station of the Cross # 1: Christ Before Pontius Pilate Print

Jerry DiFalco

United States

Open Edition Prints Available:
info-circle

Select a Material

info-circle

Photo Paper

Photo Paper

Fine Art Paper

Canvas

Select a Size

8 x 12 in ($100)

8 x 12 in ($100)

16 x 24 in ($170)

24 x 36 in ($280)

Add a Frame

info-circle

White ($80)

Black ($80)

White ($80)

Natural Wood ($80)

Metal: Light Pewter ($150)

Metal: Dark Pewter ($150)

No Frame

$180
Primary imagePrimary imagePrimary imagePrimary imagePrimary image Trustpilot Score
65 Views
0

Artist Recognition

link - Artist featured in a collection

Artist featured in a collection

About The Artwork

NOTE: The original canvas is part of the permanent collection at The Philadelphia Episcopal Cathedral; However, the printed image is available from Saatchi. 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. Pictured here is STATION NUMBER ONE, entitled JESUS IS SENTENCED TO DEATH. In this narrative Pilate questions Jesus, whose name in Aramaic is Yeshua and finds him guiltless of any crimes against the state. At this point in the trial, Christ has already been tortured and mocked by the Roman soldiers and the Hebrew temple guards. Before he appears before Pilate, he has been crowned with a ring of spiked thorns, and severely whipped. His pain is high and his blood loss is heavy. In spite of the innocence of Jesus -- and at the insistence of the Jewish religious leaders in Jerusalem -- Pilate condemns Christ to death by crucifixion. To cleanse himself of any accountability in this act, Pilate orders that water be brought to him for the ceremonious washing of his hands and to purify his guilt. I photographed my own hands, which were covered in latex gloves, for this piece using time-lapse methods. I next repeatedly scanned the text, NEVER ENOUGH WATER, into this image. These words express the idea that no amount of water could ever cleanse the sin of condemning an innocent person. Moreover, the latex gloves symbolize our sanitation of capital punishment in contemporary society. Media for this specific STATION includes The skull and teeth of a young deer, metallic thread, clear acrylic polymers, acrylic paint, digital photographs, acid free paper, and, stretched canvas on wood.

Details & Dimensions

Print:Giclee on Photo Paper

Size:8 W x 12 H x 0.1 D in

Size with Frame:13.25 W x 17.25 H x 1.2 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.

Artist Recognition

Artist featured in a collection

Artist featured by Saatchi Art in a collection

Thousands Of Five-Star Reviews

We deliver world-class customer service to all of our art buyers.

globe

Global Selection

Explore an unparalleled artwork selection by artists from around the world.

Satisfaction Guaranteed

Our 14-day satisfaction guarantee allows you to buy with confidence.

Support An Artist With Every Purchase

We pay our artists more on every sale than other galleries.

Need More Help?

Enjoy Complimentary Art Advisory Contact Customer Support