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WHITMAN'S TOMB IN 3-D - Limited Edition of 5 Print

Jerry DiFalco

United States

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About The Artwork

This hand-printed etching is one of illusion and vibration. I based the image on a photo I shot in Camden, New Jersey (1974) at the tomb of poet, Walt Whitman. I used two separate inks and ran the etching plate through the press twice (first in a magenta run followed by a cyan turquoise one). I intentionally played with the printing press registration marks so that the lines from each printing would not match perfectly; this resulted in a drunken-like 3-D visual effect. I employed the studio techniques of intaglio, aquatint, and drypoint for this etching. I use a CHARLES BRAND industrial printing press manufactured in New York City. This print (created at The Center for Works on Paper in Philadelphia, Pennsylvania) is from the final edition (limited to only five etchings). The original zinc plate was etched in the year 2012; and, two editions of ten prints each were created then. I waited until the Full Lunar Eclipse of January 2019 to handprint this THIRD edition of five etchings, because 2019 marks the 200th anniversary of Walt Whitman’s birth. The framed print measures about 12 inches high by 15 inches wide and is matted in archival materials. My media include: Charbonnel brand oil-base inks from Paris printed on RivesBFK white paper (also French). Narrative Walt Whitman was the first poet from the United States to celebrate themes of Universalism, Free Love, Gender and Racial Equality, Nature, Same-sex Love, and The Working Classes. His poetry shocked the more traditional poets of his time (like Emily Dickenson); however, many famous visitors came to see Whitman in Camden, New Jersey during his final years (1888 and 1892). Note: Oscar Wilde and Thomas Eakins were among these sojourners to Whitman’s home. The poet’s final house, (although not the one visited by Wilde which is now a vacant lot) is now a small museum on Mickel Street near Rutgers University’s Camden campus. I had the pleasure of bringing the poet Allen Ginsberg to Whitman’s home in 1974 and arranging a public reading by Ginsberg at Rutgers University on the same day. Over 1,500 people came to hear Ginsberg read, and over 200 of us escorted him to Whitman’s Mickel Street House before the reading. When Whitman died in 1892, he was interred in Harley Cemetery, (Camden, New Jersey). Over 1000 people from around the world went to the grave to celebrate his life. The site is still a place where poets and artists gather to bring flowers, sip wine, and read poetry. This is a must visit place if you are ever in Philadelphia, Pennsylvania, or Atlantic City. The SAATCHI price includes all shipment costs, handling, shipment carton, packing materials, and the framed and matted etching with a craft paper backing. The frame is semi-decorative and made of white-painted wood and glass. It is wired and ready to hang.

Details & Dimensions

Print:Giclee on Fine Art Paper

Size:12 W x 9 H x 0.1 D in

Size with Frame:17.25 W x 14.25 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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