I just returned from a short residency at El Taller Experimental de Grafica in Havana, Cuba. Eight American printmakers worked alongside Cuban printmakers using Solarplate technologies founded by Dan Welden. Dan provided Solarplates for the Cubans and we had a wonderful time teaching them how to use the Solarplates and expose them to the sun in the town square.
The quality of work at El Taller is astounding. They do mostly litho and reductive woodcut on MDF board. Real wood is scarce and expensive. Lithography was originally used to print old cigar labels, so there is a venerable history at the studio. They are masters of the process, and somehow pull it off without a sponge in sight. They use pantone offset inks with kerosene as a thinner. Linseed oil is cut with cooking oil as a medium. All of the inks and modifiers are rationed and difficult to procure.
I was thrilled to introduce the studio to the wonders of Caligo Safe Wash water washable etching inks by Cranfield Colours. The Cubans had never seen anything like Caligo before. We all began mixing colors and they were impressed with the quality and heavy pigmentation of the inks. The best part came when my coal black, inky hands were dipped in slightly soapy water (sinks and faucets are at a premium. Many buckets are utilized in the studio) and came out clean. There was an audible gasp.
“No more kerosene?!” they murmured. Rags, newspaper and sponges are scarce, so the ease of clean up was revelatory.
It was my great privilege to work alongside these creative, talented and generous artists. English, Spanish, hand signals, facial expressions and pantomime allowed us to communicate, and the process of printmaking bound us together. Our collective “Ahhhhhh’s!” were heard over the thrum of visitors and competing street musicians as prints were pulled and hands were washed in water, not kerosene.
Robynn Smith
January 2019
Robynn, I was so happy to be with you in Cuba. It was a magical time (no kerosene)! Now, when will you post your prints?