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12 x 8 in ($100)
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White ($80)
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This lyrical and haunting etching was printed in diptych format by employing individual two zinc plates placed on the press at the same time in order to produce one split image. This gives a window-like feeling to the work and allows the viewer to perceive a reality through a reality. The studio techniques employed included intaglio, drypoint, chine collé, and aquatint. Di Falco based this image on two original drawings, which were both adapted from a photograph he shot in October 1987 (while traveling around the south of Spain). The scene features the Moorish influenced Fountain of The Lions at The Alhambra in Granada. A blend of black, oil based inks was used on RivesBFK white paper. A handmade mulberry bark paper from Thailand, which was infused with kozo threads and treated with methyl cellulose, was used in the chine collé process; consequently, this endows the sky with its brilliant orange color. Each zinc etching plate measures 8 inches high by 6 inches wide, or 20.3cm by 15.2cm. This print is from the last of FOUR editions, and there are only five prints in each hand-printed edition. The first edition of ten etchings was printed and published five years ago; the final two editions were executed after the first Full Moon of 2019. This was due to astrophysical alignments. The SAATCHI PRICE INCLUDES: 1. THE MATTED ETCHING IN AN ARCHIVAL MAT; 2. A FRAME (17 inches x 21 inches, Type – Glass & Wood / Semi-Ornate Style, Color - Gold); 3. ALL HANDLING COSTS; 4. ALL SHIPMENT COSTS; 5. THE CARDBOARD SHIPMENT CARTON; 6. BUBBLE WRAP; 7. OTHER PACKING MATERIALS; AND, 8. A CERTIFICATE OF AUTHENTICITY SIGNED BY THE ARTIST. The work is wired and ready to hang. Framing includes a brown craft paper backing. A wall hook and nail are also included. This was printed and published by the artist in 2019 at The Center for Works on Paper in Philadelphia, Pennsylvania.
Print:Giclee on Fine Art Paper
Size:12 W x 8 H x 0.1 D in
Size with Frame:17.25 W x 13.25 H x 1.2 D in
Frame:White
Ready to Hang:Yes
Packaging:Ships in a Box
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.
Artist featured by Saatchi Art in a collection
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