VIEW IN MY ROOM
Golden Axis of Golgatha Print
United States
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Fine Art Paper
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10 x 10 in ($100)
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White ($80)
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About The Artwork
NOTE: The artist began to investigate a strange virus in China in December of 2019. This one-of-a-kind, mixed-media wall work measures about eight inches wide by nine inches high by one-half inch deep. The artist employed the genres of painting, sculpture, and light manipulation to produce “GOLD JESUS—GOLDEN CALVARY”, a work that belongs to his decades long installation work entitled, “RELICS”. The work consists of a canvas stretched over a pine wood frame that was primed with gesso and then textured with modeling paste (Liquitex brand). A plastic vacu-form sheet was heated and placed over a three-dimensional crucifix and then painted in gold acrylic. The canvas surface is also painted in gold acrylic, but another type (also Liquitex). German 24-karat thread was used to sew the plastic casting onto the painted canvas by hand. The small work, executed in the year 2020 in the artist’s loft-studio, took five months to complete. The Vacu-form process (which utilizes compressed air and boiling water) is a technique used to produce body castings for cancer patients in radiation. The work is meant to serve as a piece of Fine Art, as well as a Liturgical Meditation Tool. When studied in candlelight, some interesting optical phenomena occur. The textured canvas reflects DaVnci’s Vitreous Man within a Circle, and the cast of the armless crucified Christ represents humanity caught in the web of the 2020 world virus that originated in Communist China. The Christ is represented without arms to symbolize the powerlessness of the Chinese people, as well as the helplessness of humanity when confronted with what I believe to be a type of viral warfare. The work ships in a box and needs no frame, as the sides are painted (and therefore part of the art itself). The price includes packing materials, bubble wrap, shipment carton, Certificate of Authenticity, and artwork. The work is wired in the rear and ready for hanging. A nail and hanging hook is also included, as are press materials on the artist’s lengthy career. Di Falco has shown his paintings, installations, and sculptures in over 400 exhibitions around the world since 1980. He has received several artist’s awards including The City of Philadelphia Award in Arts and Culture (2009), a Pollock-Krasner Fellowship for the highest amount in 2002, and two individual Art Grants from the Pennsylvania Council on the Arts (1992 and 1987).
Details & Dimensions
Print:Giclee on Fine Art Paper
Size:10 W x 10 H x 0.1 D in
Size with Frame:15.25 W x 15.25 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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