Ben Ouènnès 1883

Philip Zilcken made this etching of Ben Ouènnès using metal, acid, and paper. The process begins with a metal plate, often copper, coated with a waxy, acid-resistant substance. The artist scratches an image into this coating, exposing the metal. Then, the plate is submerged in acid, which bites into the exposed lines, creating grooves. The longer the plate remains in the acid, the deeper the lines. To make a print, the plate is inked, and the surface wiped clean, leaving ink only in the etched lines. Damp paper is then pressed against the plate, transferring the ink and creating the image we see. The resulting print bears the marks of its making: the delicate lines, the texture of the paper, and the subtle variations in tone. Here, the social context is less about labor, and more about a kind of encounter – Zilcken depicts a person from another culture, in a way that is both intimate and respectful. Ultimately, by considering the labor involved in the etching process, and its role in representing people, we recognize its importance in both art and cultural exchange.