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“.CRIMSON POMPEII: IN THE POET’S HOUSE OF MYSTERIES” - Limited Edition 1 of 6 Print
United States
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9 x 12 in ($100)
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White ($80)
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About The Artwork
Full Title: “CRIMSON POMPEII: IN THE POET’S HOUSE OF MYSTERIES HIDES THE BLOOD EGG; SKULL OF THE DEATH ANGELS ” 1/6; Edition IV of V THIS PRICE INCLUDES: THE MATTED ETCHING IN AN ARCHIVAL MAT; A FRAME (12 inch x 9inch, Type – Glass & Wood Edge / Semi-Ornate Style, Color - Gold); ALL HANDLING COSTS; SHIPMENT COSTS; CARDBOARD SHIPMENT CARTON; BUBBLE WRAP & OTHER PACKING MATERIALS; AND, A CERTIFICATE OF AUTHENTICITY. The work is wired and ready to hang. Framing includes a brown craft paper backing. A wall hook and nail are included. The zinc plate used for this etching measured (7) seven-inches high by (5) five-inches wide (17.780cm by 12.700cm), which is also the image’s size. The print measures twelve-inches high by ten-inches wide (30.480cm x 25.400cm). STUDIO TECHNIQUES EMPLOYED: Intaglio and Drypoint. MEDIA: Oil-based, French etching ink (a blend of two colours) on RivesBFK white paper. Other materials used included a zinc etching plate, liquid hard ground, nitric acid bath, mineral spirits, alcohol, French chalk, latex, and graphite. THE IMAGE: This image is taken from a Pompeian mosaic (Collections: the National Archaeological Museum, Naples) that is thousands of years old. It was uncovered in 1824 by the archaeologist Antonio Bonucci in a private home now identified as The House of the Tragic Poet (also referred to as The Homeric House or The Iliadic House). The villa—a representative Roman house from Pompeii in the 2nd century before Christ—is recognized for its intricate mosaic floors and frescoes that portray episodes from Greek folklore. The scene is a virtual meditation on mortality with such symbols as a grinning skull hanging in the balance from an A-frame, The Wheel of Life (think of the Tarot), and a butterfly. There are also references to the setting sun. TECHNICAL ETCHING NOTES: I first hand-file the plate’s edges and then clean it with various soaps. I then apply a coat of liquid Hard Ground, which is a blend of turpentine and organic beeswax, and allow it to dry overnight. Next, my drawn image is transferred in reverse onto the plate. The etching of lines into the ground (with various needles and tools) begins. The plate is placed in nitric acid for its first bath. The ground is then washed off with turpentine (or oil of Spike Lavender) and cleaned for the first inking and rubbing with French chalk. Repetitions of these steps occur—that is: the application of ground layers; plate workings; and acid baths—until I obtain my desired image. This particular etching required five plate re-workings and acid baths. The wiping techniques I’ve developed lend the aura of a monotype to my etchings. HAND-PRINTED BY THE ARTIST AT THE CENTER FOR WORKS ON PAPER, PHILADELPHIA, PENNSYLVANIA, US.
Details & Dimensions
Print:Giclee on Fine Art Paper
Size:9 W x 12 H x 0.1 D in
Size with Frame:14.25 W x 17.25 H x 1.2 D in
Frame:White
Ready to Hang:Yes
Packaging:Ships in a Box
Shipping & 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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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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