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Saint Michael's Island - Limited Edition of 5 Print

Jerry DiFalco

United States

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About The Artwork

This hand pulled etching is based on an 1889 photograph taken at Mont San Michele in France by Giovanni Di Falco, the artist’s paternal grandfather. Jerry Di Falco executed two drawings in graphite of this photo before etching onto his zinc plate, which was then developed in three baths of Nitric acid. This specific etching is from the Final of Four Editions, and each edition is limited to five prints. Media include a blend of oil base etching inks on RivesBFK white paper with a Thai mulberry bark paper color overlay. The mulberry bark paper was treated with methylcellulose and also infused with kozo threads from Japan. The intimate image size measures six inches high by four inches wide; the paper size is about ten inches by eleven inches. The wood and glass frame measures about twelve inches by nine inches. This edition was printed in February of 2020 at The Center for Works on Paper within Fleisher Art School’s Open Printmaking Studio in Philadelphia. The first two editions were created in October of 2019. Fleisher is associated with the Philadelphia Museum of Art in Pennsylvania, United States. Notes on the Chine Collé Process—Chine Collé, which translates from French as Chinese pasting, is a process in which colored and treated paper is attached to the already inked and wiped etching plate before the printing press is activated. First, Di Falco mixes Methylcellulose powder with spring water and then paints the resulting clear viscous substance onto hand-dyed mulberry-bark paper (Unruyu brand) from Thailand. In Japan, Unryu translates as CLOUD DRAGON paper because it has long swirling threads of kozo fibers integrated in it, thereby giving the texture and visual effect of clouds. Kozo fibers come the branches of the kozo bush, specifically the innermost of three layers of bark, which must be removed, cooked, and beaten before the sheets are formed. Kozo is harvested annually. The treated Thai paper is then allowed to dry overnight. Next, DiFalco creates acetate stencils that exactly match the plate areas where he desires color. He then draws in pencil from these stencils onto the treated mulberry bark paper and hand cuts each shape, which fit the plate areas exactly. These cut shapes are then dampened with water and place on the inked etching plate. The etching paper is then placed over the zinc plate and covered with additional paper and the press-bed blankets. The entire bed is then rolled through the printing press, resulting in a multi-colored etching.

Details & Dimensions

Print:Giclee on Fine Art Paper

Size:8 W x 12 H x 0.1 D in

Size with Frame:13.25 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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