The Night Sky and other linocuts

The simplicity, pattern, line, and nature reference in these strike me as similar to Native American pottery. I particularly love the pots from Acoma, "Sky-City". My husband gave me one I saw there as a wedding present and it is one of my most treasured possessions because of what it is (I don't know its monetary value).

Lucy Lewis is the most famous Acoma potter (photo of her). I relate to her in because she took care of her family doing traditional chores (in a place that still doesn't have electricity or running water) while steadfastly creating her artwork without collaboration or assistance. She made art in obscurity, as she said that no one ever came to Acoma. She certainly wasn't alone, however, as she formed clay at the kitchen table surrounded by children and grandchildren. Born in 1902, the first competition she entered in 1950 brought a blue ribbon and further awards followed. Lewis' work is in art museums around the world. I had the opportunity to meet two of her nine children, Dolores and Andrew, who are both potters. They explained the origins of the materials for the ceramics are gathered from the area, the brushes from yucca plants, the color from a secret place. The symbolism of the designs is sacred and great effort is made to keep the meanings within the tribe.

These linoleum cut prints have a zoomed-out view of an open landscape. The Night Sky is an edition of ten. Each color is created by inking the plate, printing it, then carving out an area and printing it again on top. This is done for each color, layering the image. The three prints below are singular variations (hence monoprints) on The Night Sky, and are labeled "a" through "p". Most are printed on top of colored papers; some were old prints. The patterns and colors of the papers are fitted with the last pattern of the plate to make strong compositions differing in space and mood. I flipped the orientation of the plate for a few. Black ink is used as a unifying element, contrasting enough with the colored papers to clearly define form. I don't use yucca brushes but like Lewis I am at home in the studio and the kitchen. Maybe someday I'll be lucky enough to have the museum part in common too.