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Metropolis in Black Light - Limited Edition 1 of 5 Print
United States
Printmaking, Drypoint on Paper
Size: 11 W x 14 H x 1 D in
Ships in a Box
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About The Artwork
This etching—created with the techniques of intaglio and drypoint—was executed in five COLORS of French, oil-based ink on STONEHENGE cream-colored paper; the image was inspired by a still from the 1927 silent German film METROPOLIS. I etched the work on two separate zinc plates, which each measured four inches high by five inches wide, or 10.160 cm by 12.700cm; therefore, the overall visual image measures eight inches high by five inches wide. The etchings plates are plated simultaneously on the printing press to create this “Etched Diptych”. The paper or print size is about twelve inches by ten inches wide, or 30.480cm by 25.400cm. Four separate nitric acid baths were required for me to be satisfied with the final etched design. I hand printed this work in 2017 at The Center for Works on Paper in Philadelphia, which is part of Fleisher Art Memorial’s Campus and in their program entitled, THE OPEN STUDIO IN PRINTMAKING. This is a print from the LAST Edition of Four Editions; each edition is limited to only five prints and is executed in different colors of ink on different papers. The 1927 film by Fritz Lang, METROPOLIS, is one of the finest examples of German Expressionist cinema; it contributed innovative levels of art to the future history of filmmaking. This marathon work blends science fiction with religion and politics and takes place in the future year of 2026 C.E.; the work examines a larger than life urban environment ruled by billionaire industrials and corporate kings. The ingenious sets were heavily influenced by the artistic movements of Futurism, Cubism, and Bauhaus. The script, which was written by Lang and his wife, Thea von Harbou; the film features Gustav Frohlich, Brigitte Helm, Rudolf Klein-Rogge, and Alfred Abel. The poetically gothic special effects, like the sets, were unlike shown previously in the cinema. THIS PRICE INCLUDES THE MATTED ETCHING IN AN ARCHIVAL MAT; A GLASS & WOOD FRAME (Type – Edge/ Semi-Ornate) 11 INCHES BY 14 INCHES WIDE, COLOR - SILVER); ALL HANDLING COSTS; SHIPMENT COSTS; CARDBOARD SHIPMENT CARTON; BUBBLE WRAP/PACKING MATERIALS; AND, CERTIFICATE OF AUTHENTICITY. The work is wired and ready to hang. Framing includes a brown craft paper backing. A wall hook and nail are included.
Original Created:2017
Subjects:Cinema
Details & Dimensions
Printmaking:Drypoint on Paper
Artist Produced Limited Edition of:5
Size:11 W x 14 H x 1 D in
Frame:Silver
Ready to Hang:Not applicable
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. Artists are responsible for packaging and adhering to Saatchi Art’s packaging guidelines.
Ships From:United States.
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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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