PROTEST!
Every day that passes uncertainty grows, the question that we ask ourselves frequently is that it will happen, where we are going, what direction this society will take full of deficiencies and injustices, it is inevitable not to turn our attention to the problem, to observe closely the situations by the What happened to the abuse of power and authority of those who supposedly should protect you makes you distrust, feel helpless and completely unprotected; for reasons like this I decide to show through the engraving taking advantage of the reproduction of it to reach large editions and to propagate more information in the form of visual and critical protest, this series in which I continue working with a view to an individual exhibition, seeks to capture and leave traces of this barbarism, abuse of powers, and a number of injustices that would not reach the words or time to try to explain them in such a way to remind the public that engraving is also part of the arts as poetic and plastic vision.
It becomes more frequent to suffer, more constant are the laments and complaints within this society, but it is necessary within the artistic vision to reflect and leave reflected as a reference that great events occurred that will mark the story in a way not very well seen.
As is customary in my work, I show the creative process quite explicit so that they become more involved with the work from its creation to its final result.
This is the main sketch, you can see how I list the areas where I am interested in generating forces in the lines for the contrasts, the size of the sketch is adapted to the metal sheet that we are going to work as a matrix to generate the technique of Etching.
The metal sheet, is a light metal (Brass is an alloy of copper and zinc). works perfectly with iron chloride (III) or iron trichloride (traditionally called ferric chloride) is a chemical compound used on an industrial scale belonging to the group of metal halides, whose formula is FeCl3. we must take into account that the original sheet is completely rough, we have to sand until we can reflect on it.
After having our Lamina or matrix ready, well sanded and polished, we proceed to capture the drawing in the metal, the use of Judean bitumen is necessary to protect the spaces where we do not want the acid to corrode the metal.
After covering well the spaces where we do not want the acid to corrode the metal, we proceed to submerge the matrix in a pan full of ferric chloride, we have to be very attentive with time in this step I started with 5 min to see how the acid acted in the metal.
They can observe the process of the bite to the metal, as they commented they were 5 minutes and removed the matrix of the acid to then submerge it in water and remove the betum to see if the acid caused an effect on the metal.
After several bites 5 to be exact, we proceed to clean the matrix with some diluent that starts the betum of it.
After cleaning the matrix with force we can observe the details of the bites, if any zone lacking to bite, it is again covered with betum and other ferric chloride is introduced again.
This is how our matrix was ready to proceed to inking it. It should be noted that this inking after the previous preparation of the color in my case I do it with my fingers for greater comfort and that the color can enter the furrow left by the ferric acid.
After inking, we gently and patiently clean the matrix circularly remove the excess paint taking into account that the cleaning is uniform so as not to remove all the ink, this process I did not photograph it because my hands were full of ink so we went to the final result of the impressions.
I hope you have enjoyed this wonderful and rich creative process, the engraving will always be a spokesperson for social criticism. follow me and I follow you...
