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VIEW IN MY ROOM

HEAR NO EVIL - Limited Edition of 5 Print

Jerry DiFalco

United States

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About The Artwork

The intimate size of this etching by Di Falco projects a rather imposing mood. The etching, inspired by a photo that the artist shot in 1987, was based on two of his own pencil drawings. This specific print is from the Second Edition of Four, and each edition is limited to only five etchings. The zinc plate size is about four inches high by three inches wide; the print size is about ten by eight inches. The work includes an archival mat in a frame that measures twelve by nine inches. Media includes RivesBFK white paper and a special four-color-blend of Charbonnel brand etching ink (oil base). The artist hand printed the work on a Charles Brand press at The Center for Works on Paper in Philadelphia, Pennsylvania, which is a part of Fleisher Art Memorial’s OPEN STUDIO IN PRINTMAKING. This is a non-structured printing course for professional artists, and Di Falco mentors the artists and also acts as a studio-monitor. Fleisher is associated with The Philadelphia Museum of Art. The zinc plate was etched in four baths of Nitric acid, and Di Falco employed the studio techniques of intaglio, aquatint, and drypoint. The work illustrates a grotesque from L'église Sainte-Marie-Madeleine (St. Mary Magdalene Church) in Domont, France. This architectural element is from the building’s interior and is located in the nave (north triforium: corbel). The face is reminiscent of the adadge, “See No Evil”, and was carved in the 12th Century. The building’s style, which is primitive Gothic (gothique primitif), is rare in this section of France. After its completion, the church had modest revisions, but its decay from the middle of the eighteenth century caused its closure as a place of worship in 1785, when it was almost demolished. Only the lack of funding in France’s post-revolutionary period prevented this, and restoration occurred between 1844 and 1857.

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

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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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