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Tower of Babel Print - Limited Edition of 15

Jerry DiFalco

United States

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9 x 12 in ($100)

9 x 12 in ($100)

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$180USD
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About The Artwork

The full title is, The Tower of Babel, Tongues of Fire, and Throats of Arrogance. This etching includes the studio techniques of intaglio drypoint, and aquatint and is a fantasy narrative that depicts the biblical story of The Tower of Babel. I used a created blend of oil base printer's ink mixed with dried metallic copper pigment and dust and printed on RivesBFK white paper. The print size is 16 inches high by 15 inches wide, or 40.6 cm x 38.1 cm. The zinc etching plate I used measured 12 inches high by 9 inches wide, 30.5 cm x 23cm, and required six workings and baths in Nitric acid. I have never liked this story about a God who loves to screw humanity. Imagine. All of the people on earth share a common language and are advancing to highly intelligent levels of technology. According to this story, the Hebrew God dislikes this and zaps everyone with confusion and division. Fortunately today, we have science as our common language, but many scoff at the evidence that global climate change will destroy our planet within a moment or two. Oh well, have we become gods? The hypnotic etching executed in earth tones was hand printed and published at The Center for Works on Paper in Philadelphia, Pennsylvania. Please note that this etching is shipped to the collector without a frame or mat. This keeps the price low and gives the collector a wide range of choices in the framing process. A sturdy cardboard box is employed for shipping the work. The etching is first wrapped in two layers of acid free glassine and then placed between two archival boards. This is next placed into the shipping carton and securely packed with bubble wrap. The SAATCHI price includes all handling costs, shipment supplies, and regular, domestic (US) mailing costs to the collector.

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

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.

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