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39 Views
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ABOUT THE ARTWORK
This original Di Falco etching is based on a photograph he took in 1987 while traveling around the south of France. He took the image and then made three graphite drawings from it, which he than used for his etching. Di Falco shot the photo in the village of Rennes-le-Château, France, at the Church of Mary Magdalene. This mystical site’s fascinating history encompasses hidden treasure, conspiracy theories, the Holy Grail, and the Cathars. The etching’s narrative centers around a statue of Mary Magdalene, who is holding a large wood cross and urn, most probably filled with the expensive oil of lavender that she poured over Christ’s feet. What makes this statue and shrine unique is the skull that sits upon a book at Mary’s feet. The pages of this book are covered with a scribbled alphabet that resembles a cuneiform-like code. The skull could represent a number of things including Golgotha, John the Baptist, Adam, or the resurrection of Christ. According to Wikipedia, “this original church was almost certainly in ruins by the 10th or 11th century, when another church was built upon the site—remnants of which can be seen in Romanesque pillared arcades on the north side of the apse. This survived in poor repair until the 19th century, when Bérenger Saunière ”, the parish priest, renovated it. Di Falco’s etching—executed using the studio techniques of intaglio, drypoint and aquatint—was created on a zinc plate and developed in several Nitric acid baths. He used French, oil-base etching ink on Stonehenge brand cream colored paper. The hand-printed editions were made on a Charles Brand industrial printing press at The Center for Works on Paper in Philadelphia. The SAATCHI price includes shipment costs, packing materials, frame, mat, mailing carton, handling and Certificate of Authenticity. This print is from the LAST Edition of Four, with each edition limited to only five etchings. This is print number one of five. (1/5; IV/IV). This specific work is dedicated to the novelist, Kathleen McGowan, who wrote a trilogy entitled The Magdalene Line.
Original Created:
2019
Subjects:
DETAILS AND DIMENSIONS
Print:
Giclee on Canvas
Size:
14 W x 21 H x 1.25 D in
Size with Frame:
15.75 W x 22.75 H x 1.25 D in
Frame:
White
Canvas Wrap:
Black Canvas
Ready to Hang:
Yes
Packaging:
Ships in a Box
SHIPPING AND RETURNS
Delivery Time:
Typically 5-7 business days for domestic shipments, 10-14 business days for international shipments.
Handling:
Ships in a box. Art prints are packaged and shipped by our printing partner.
Ships From:
Printing facility in California.
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Jerry DiFalco
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.
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