Chalcography: in the context of engraving and etching

 

Starting from the assumption that in the first creative phase the idea is sovereign, in the second phase the artist must possess and control the technique involved in the realization of the project. In the context of the etching process, this is a complex process, due to the several stages before reaching the desired results. Under normal circumstances, we are usually aware of prominent lines, simple, swelling or intertwined, scratched on the waxed surface of a zinc or copper plate, whereas you can see that my objective is to scratch the bare metal with the desire to obtain through the etching process an atmospheric effect in the creation of my subjects. It took years of experience and hardship to reach the desired goal, an effort that may surprise even the most experienced observer. The waxed and smoked plate is very sensitive to the pressure of the metal tip of the pointed needle and if you wish to achieve an atmospheric effect you must remove all imperceptible wax fragments. There are moments when I need to hold my breath to avoid running the risk of the formation of a detritus, or powdery shiny patches that could damage the entire project when dipping the plate in the acid, which can occur only once. Hence the definition of the mordant, or “unique bite” of the acid, because the gray and black tones that I have previously marked with my lines are the equivalent of a painting executed with my needle to return the mirror image now engraved with remarkable effects (and remember … these are not aquatints … .!).