{"id":3203,"date":"2022-10-26T13:05:33","date_gmt":"2022-10-26T11:05:33","guid":{"rendered":"https:\/\/www.pigprints.org\/marinai-gallery-1\/"},"modified":"2022-12-15T10:26:21","modified_gmt":"2022-12-15T09:26:21","slug":"between-the-corners-of-my-bed","status":"publish","type":"page","link":"https:\/\/www.pigprints.org\/it\/between-the-corners-of-my-bed\/","title":{"rendered":"Between The Corners Of My Bed"},"content":{"rendered":"

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BETWEEN THE CORNERS OF MY BED is a fairly straight continuation of my filmmaking practice.\u00a0As an experimental filmmaker I used to work directly on the film emulsion as if it was a canvas.\u00a0So, I drew, painted or scratched each frame, frame by frame, whether it was a Super8 or a 16mm.\u00a0short. But I had grown dissatisfied with the impermanence of the moving image. I wanted\u00a0something more substantial and concrete than a fleeting retinal impression.\u00a0Intrigued by the possibilities offered by the technique of photogravure, to reproduce a photographic\u00a0image with all gradations between black and white with etching ink on quality paper, I took a class\u00a0with master printer Lothar Osterburg.
\nThat was the beginning of my venture in the field of printmaking as I was immediately fascinated\u00a0by photogravure, by its results and by the process, with all its difficult, laborious and challenging\u00a0steps.\u00a0It took me some time to master the process, I found it rewarding and frankly exhilarating.\u00a0After several prints, a few portfolios and two books that I did for practice, I decided to embark on a\u00a0much larger project. I would give it a structure and a narrative that would be the vehicle to carry a\u00a0large number of photogravures that \u2014 like the travelogue\/diaristic films I was familiar with \u2014would reflect the world around me, my experiences and my thoughts derived from haphazard\u00a0reading of Heidegger\u2019s philosophy.
\nHaving established form and content, for over a year, in 2007 and in 2008, I dived in, making\u00a0plates at the Manhattan Graphics Center in New York, often several at once, and printing them in\u00a0my studio, two at the same time on one piece of paper (an additional challenge) in an edition of\u00a0eight.\u00a0All the photographs (with the exception of C.E. Gadda\u2019s opposite the composite image of G.W.\u00a0Bush with Atta, the 9\/11 terrorist, and Duchamp\u2019s urinal) are original photographs that I either took\u00a0in those days or had taken when I had first arrived in New York in the late 70s.\u00a0To maintain the narrative aspect of the book, I grouped the photogravures into different loose\u00a0\u201csequences\u201d that deal with NYC, the neighborhood, daily living, art, nature, news, Tuscany\u2026and\u00a0interspersed them with aquatints that depict the actual corners of the loft bed (pictured in the last\u00a0pages of the book) that my wife and I built in the loft on the Bowery which \u2014 by the way \u2014\u00a0belonged to Andy Warhol, our landlord (and Jean Michel Basquiat was our neighbour).
\nAbove the loft bed there is a skylight that is represented and sketched throughout the book with\u00a0different printmaking techniques as if spotted at different times during that restless night.\u00a0Two of the seven copies of the book were bound by Henry Bookbindings, an Hasidic Jew who livesand works in a dark, crammed and timeless basement in Henry Street on the Lower East Side.<\/span><\/p>\n

Franco Marinai, Serrazzano 2022<\/span><\/p>\n

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All photogravures are available in one copy, signed and numbered 8\/8. Please contact us<\/a><\/span> for price and availability.<\/strong><\/span><\/p>\n

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