Two graduate students, Gatis Cirulis and Katya Reka, worked
with us printing the project. In 2011 they moved to Las Cruces, New Mexico,
where they now teach at New Mexico State University (NMSU). They invited us to
come to Las Cruces to give a talk at the Unsettled Gallery, and when we got
there they proposed we do another collaborative print project.
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An open and closed copy of Cruces
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We arrived about 7 pm on April 2, and by 8 pm we were
already pulling out the miniature Hollander beater and new iphone-sized paper
mould to make paper from century plant leaves that Katya had been retting for
the past 6 months. As the paper dried, the brainstorming began. Many ideas
surfaced relating to the theme of “crosses.” Our earlier collaboration in
Indiana was about crosses and crossroads, Las Cruces was first founded as a
crossroad town, early town logos had three crosses, our home city is “Santa
Cruz,” or “Holy Cross” is also a cross city. We settled on the idea of making a
small book in the shape of a cross.
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| We always run our Yarnell mini "cocktail" beater with a few drops of wine. |
Peter found a quote by New Mexico’s revered artist, Georgia O’Keeffe, from My Faraway One, selected
letters… “Anyone who doesn’t feel the crosses simply doesn’t get the
country.” It refers to all the crosses she saw around the countryside in New
Mexico. He wanted to change the spelling of “the crosses“ to the Spanish ‘Las Cruces’ to make it seem like O’Keeffe was writing about the city but
that never happened.
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| Peter making paper with the iphone sized papermaking mould constructed by Brian Queen |
In the morning we finished up the papermaking. We started playing with a cross-shaped piece of paper, folding the flaps to make a little container, or perhaps a shrine, for the little 3 by 2 inch pieces of paper we had just made. Then Donna and Gatis began cutting linoleum blocks for the cross-shaped paper.
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| More miniature papermaking |
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| Century plant paper drying in the sun |
In the early afternoon we went down to the NMSU art department to print the cuts. NMSU has a Vandercook press, but we did not have
wood to mount the linoleum on, so we crossed the hallway to the printmaking
studio and used their etching press instead.
We limited the edition to 20 copies, a manageable number to
finish in a short time, and printed the cuts on paper Peter had previously made
and had brought on the trip for just this sort of occasion. We placed the two
linoleum blocks side by side on the bed of the press. We hand inked both blocks
at the same time using a specially mixed yellow ink. We placed the paper on the
lino-blocks, covered it with a newsprint slipsheet, then pulled the print.
After that we re-inked the blocks, flipped the handmade paper over and pulled a
print on the reverse side of the paper. This way the two lino-blocks ended up
being printed back to back.
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| Cutting linoleum in the school printmaking studio |
Donna and Gatis then swapped blocks and cut away more for
the second run. Gatis called it making a “suicide print.” At the same time
Katya cut linoleum for the cover to be printed on a very strong flax paper
Katya had made when she worked at Cave Paper in Minnesota.
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| After the second time through the press, ink is offset on the slip sheet, below is the print |
After printing the second run in rust-colored ink, a swash
of deep red applied with a second roller, the blocks were again swapped and cut
away for the final olive-green run. After the third cutting there was very
little linoleum left on the block. It was a “suicide print” because there was
no going back. It almost became a real suicide for Gatis when he stabbed his
hand while cutting away at the block. He worked the rest of the night with that
hand wrapped in gauze held over his head.
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| Gatis working one-handed, still smiling! |
After finishing the third run it was almost midnight, but we
still needed to print the cover. We inked the cover’s lino-block with the olive
green already on the slab, placed the paper on top of the block, then took a
slip sheet covered with the offset ink from the previous run and placed it face
down on the paper, then we pulled the print. The result was that the paper had
the green linocut on one side and the three color “ghost print” on the back. We
were excited with the results and pleased that the ghost print could
conceptually tie the printmaking to the text, as O’Keeffe had lived at Ghost Ranch in New Mexico.
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| Prints drying in the garden |
The next morning we got ready to cut up the prints into the
cross shape, but found the ink was not dry. In a stroke of genius, Donna took
dry earth from the yard, sifted it through a tea strainer and sprinkled it over
the prints. When that dirt was brushed away the prints were dry and had a nice
earthy patina.
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| Dusting with the earth of Las Cruces |
Donna wrote out the quote by hand on 20 little pieces of the
century plant paper, while Katya sewed them in place on the print using three
cross stitched crosses to reference the town’s early logos.
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| No, not the typewriter! Donna writes the text out by hand |
The covers were
punched and cut. We titled the book “Cruces” and Donna cut a lino-block title.
Using green ink saved from the last night’s final press run, Peter and Gatis
printed it like a rubber stamp on the cover.
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| Gatis and Peter printing the title |
The final step was to sew the
folded cross page into the covers.
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| Katya and Donna sewing and making the final folds |
The project was complete…in less than two
days. We split the edition in half, Gatis and Katya getting the even numbers
while Peter and Donna got the odd numbers. If you are interested in buying a
copy, decide if you want an even or odd number, then you will know who to buy
it from. The price is $125 regardless of whether it is even or odd.
