This mystifying etching by DiFalco was adapted from a photo that he shot while visiting the Archaeological Museum’s gift shop in Madrid1990. His research into the Goddess cults, which began in 1974, has inspired many etchings based on the subject matter. He employed the studio techniques of aquatint and intaglio in his zinc plate, which was etched in two baths of Nitric acid. In this first edition printof four editions , the artist also employed the Chine colle technique, which incorporated treated mulberry bark paper into the work. Both Parisian ink and French paper were used in this edition, RivesBFK white paper and Charbonnel ink, and the mulberry bark paper from Thailand was infused with kozo threads from Japan and hand-treated by the artist with home-made methyl cellulose. The plate size is five inches by seven inches, the paper measures about ten by eleven inches. It come with a mat and frame11 x 14 inches and is ready to hang. DiFalco integrated several hidden symbols within his etching, which can produce optical illusions during meditation on the visuals of this work. All four editions will be limited to only five prints each. The last edition will not be printed until January of 2021 because of political situations in the US and prophecies made by the artist. The first goddess figures in this genre—discovered by Arthur Evans in 1903—depict the Minoan style of dress and grace. This specific figure is from the collection of the Archaeological Museum in Heraklion, Crete. Snakes, because of their regular skin shedding, represented rebirth in ancient religions of the Mediterranean regions. Evans believed that the Minoans lived in a matriarchal society.
Goddess, Snakes, Minoan, Intaglio, Aquatint, Original Printmaking, History Printmaking