LIFE!
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Le immagini sono accurate, e riflettono fedelmente l'originale, ma se l'opera che vi arriva dovesse discostarsi da quanto vi aspettavate potete restituirla, ed io vi restituirò l'importo. L’opera verrà spedita con un imballaggio accurato, per evitare ammaccature. Ogni opera sarà accompagnata da una scheda tecnica firmata dall'artista dove sarà specificata la tecnica e la tiratura; Le opere stampate a mano saranno contrassegnata da un timbro a secco dell'autrice. Dal momento dell'acquisto ho bisogno di circa una settimana per confezionare l'opera e spedirla, ma cercherò di fare anche prima. All'acquisto seguirà fattura elettronica, come per legge. Mi serviranno quindi il vostro nome, cognome, indirizzo e codice fiscale, nonché una mail a cui spedire la fattura di cortesia.
The images are accurate, and faithfully reflect the original, but if the work you receive deviates from what you expected, you can return it, and I will return the amount. The images are accurate, and faithfully reflect the original, but if the work that comes to you deviates from what you expected you can return it, and I will return the amount; the work will be shipped with careful packaging, to avoid dents. Each work will be accompanied by a technical sheet signed by the artist where the technique and print run will be specified; hand-printed works will be marked with a dry stamp from the author. From the moment of purchase I need about a week to package the work and ship it, but I will try to do it even sooner.The purchase will be followed by an electronic invoice, as per law. I will then need your name, surname, address and tax code, as well as an email to send the courtesy invoice to.
I finally began working on “Life!” during lockdown. Humans, confined to their homes; outside, life had regained its strength, its oxygen – the oaks, the bees, swallows, even the terrace had
come alive. Instinctively, I searched for an image that would be slow moving and detailed, a delicate, repetitive ‘tapestry’ – a simple form. What I did not imagine was how a pleasurable, bittersweet mechanism would set in motion a continual losing and finding of the thread. Which tree am I now? Where am I? What do I want to draw? Am I outside, in the open air (be careful to leave the white spaces), or am I downstairs, in the half-light (shall I make my strokes
heavier, creating shadows)? I am no longer lost; I continue drawing, losing myself over and over again, picking up from where I had left off. I know that this repeated ‘losing and finding myself’ occurs each time I leave the present, away from this two centimetre ray of light, away from the place in which I have now discovered to be, where I am now drawing. Why do I find so much pleasure in this? I really do not know. What I do know is that I experience a tranquil and concentrated activity, focussed on detail and the continual clarification of ideas within the security of my own home. I continued to etch the copper plate after the lockdown had finished; at this point though, I had had enough ‘embroidering’! I was impatient, incapable of further inspiration and mental expectation. The five etching phases (etching the plate five times) as well as adding further details proved to be quite stressful. The printing phase followed in July. Contrary to what usually happens with my work, this matrix turned out to be complete. It lacked nothing. There was little to add with the printing. On studying the result, I can see how I have divided my perception of life into two layers – one above and one below. Life is growing, maturing below the surface, invisible to the naked eye above. It is moving below, creating its own fertile characteristics – unknown, damp, rich, dangerous and mysterious. Following its course, life has no fixed points of orientation, determined by the horizon or the heavens, buried in a closed environment where all is equal – tree trunks, creepers, ferns, leaves cramped in a visible ray of faint light. Only a few metres away are we overwhelmed by an outburst of growth – from buds, to blossoms, flowers, fruit – this is life, the King is out of sight, hidden in the shadows of the nether world.
Life above is the visible manifestation of the landscape rising out of the earth, forced up by the energy below. In a certain sense, I am safe above. I can see. I understand where I am and where I am going. I can embroider what I see. I can create form repeatedly, as often as I like, whenever I need to, in my place, among all things.
Traduzione di Sally Linton
LIFE! The second status test
The first matrix we make is called “First Status Test”. Each subsequent change to the same matrix is marked as the next status test: 2,3,4… In this case, after printing the plate for the first time, I decided to enrich and underline the sign; I then covered it again with wax, but this time a pad and a solid wax, to be sure that all the previous marks were well filled and protected. Then I drew it again and put it back in acid again. The final result is a matrix engraved twice, where the signs overlap and integrate with each other.
LIFE! Print test
Before printing a work in its final version, tests are made. You choose the color (color proof; p.c.), you decide the type of paper and the press pressure (printing test p.d.s.). If, after printing, you decide to modify the plate, then the press in question is defined as a status test (p.di status).
LIFE! The first status test press
A plate of metal is cut to make an etching. After having covered it with a layer of wax, with a tip we “scratche” the drawing, and then the plate is immersed in a corrosive acid. The acid will only corrode the bare metal, creating grooves; these marks will be inked and printed. The status press test is the printing of a matrix that then underwent further interventions, permanently changing its content.
