Screen Printing - June/July 2018 - 25

Dan Reisinger, "Scrolls of Fire No. 49: Partisans of the Forest"
After selling his company in 1978 to concentrate on technology development, Caza was lured back into business by this project of 53 original prints themed to the Jewish Diaspora.

Johannes Vermeer, "Girl with a Pearl Earring," 2002 reproduction
The Japanese client who commissioned this reproduction wanted the
print to appear as though the 1665 masterpiece had just been painted.
Caza spent 44 hours in Photoshop painstakingly removing the cracks
from the original.

helped them to refine their knowledge of the color and effects,
and they gave to the artists the resources of their technical
expertise to help them in their "re-creations" in serigraphy.

to overprint fungus shapes using a transparent ink in the noninvaded parts to "unify" the whole body and to give them a
purposeful appearance.
With the Canadian Peter Fromme-Douglas and his "MovieStars," the complexity between softness and contrast was difficult to recreate. This was a problem that I found again many
years later with [Alain] Margotton's nude of 2003, for which I
earned the first "Best in Show" at the SGIA awards competition. Recreating works in the manner of Warhol was also a
series of exciting experiences. So many things that mixed art
and technique together so closely, all my life!

You took on many projects that required a great deal of
innovation to complete. Talk about a few that stand out.
I developed the relief printing of "brush strokes" for Salvador Dali when we realized the famous portfolio of "Alchemy
of the Philosophers." It must be remembered that in 1974,
special capillary films did not yet exist that could have more
easily achieved the effect. I had to imagine a special technique to obtain these reliefs of ink. The following year, it was
Ernst Fuchs who asked me to use this technique for another
huge portfolio, "The Original Kabbalah."
Later, in 1979, Dan Reisinger asked me to re-use my relief
technique in the 53 prints of his enormous portfolio, "Scrolls
of Fire," on the symbolic history of the Jewish Diaspora.
With Dali, I had other adventures - some funny, and some that
could have been catastrophic! As long as there was no audience
who expected his theatrical grandeur, Dali was a great professional with whom it was very pleasant to work. I recall how he
often signed his parchment prints in his swimming pool in Cadaqués. Once, he dropped one in the water while he was signing
it. This was for the "Alchemy of Philosophers," where I learned
after taking on the job that the "parchment" would actually be
lambskin. Four thousand sheep died for that portfolio! So Dali
dropped one of the prints and we fished it out of the pool, but the
lambskin became a very small, hard, dry roll. Unrecoverable!
Or, less comical, when the publisher later informed me
of a fungal invasion in the corners of many of these famous
prints, impossible to remove! I found a rather special remedy:

It's interesting how politics seemed to weave in and out
of your career - the student uprisings of 1968, the Chilean
dictatorship of the 1970s, the AIDS protests of the 1980s
were all documented in your work - and yet you also
worked for a number of famous French politicians. Were
you something of a chameleon in that sense as well?
It's funny, but by nature I remained completely apolitical,
even secular - neither angry with any religion, nor the
absence of it. As my friend Pierre Soulages told me: "Whether
they are left or right, I do not care, as long as they like what I
do!" I fully share this point of view.
But there is an enormous exception: I have never been
able to support dictatorships, whether left or right - hence,
my pleasure to realize the "Chile" portfolio with South American artists, the sale of which paid for the expedition of artists
and intellectuals fleeing from the Pinochet regime.
The portfolio with [Gérard] Fromanger after the events of
May 1968, with the controversial bleeding flag, was another
nice challenge. The two years spent developing the mass
JUNE / JULY 2018

25



Table of Contents for the Digital Edition of Screen Printing - June/July 2018

Contents
Screen Printing - June/July 2018 - Cover1
Screen Printing - June/July 2018 - Cover2
Screen Printing - June/July 2018 - 1
Screen Printing - June/July 2018 - Contents
Screen Printing - June/July 2018 - 3
Screen Printing - June/July 2018 - 4
Screen Printing - June/July 2018 - 5
Screen Printing - June/July 2018 - 6
Screen Printing - June/July 2018 - 7
Screen Printing - June/July 2018 - 8
Screen Printing - June/July 2018 - 9
Screen Printing - June/July 2018 - 10
Screen Printing - June/July 2018 - 11
Screen Printing - June/July 2018 - 12
Screen Printing - June/July 2018 - 13
Screen Printing - June/July 2018 - 14
Screen Printing - June/July 2018 - 15
Screen Printing - June/July 2018 - 16
Screen Printing - June/July 2018 - 17
Screen Printing - June/July 2018 - 18
Screen Printing - June/July 2018 - 19
Screen Printing - June/July 2018 - 20
Screen Printing - June/July 2018 - 21
Screen Printing - June/July 2018 - 22
Screen Printing - June/July 2018 - 23
Screen Printing - June/July 2018 - 24
Screen Printing - June/July 2018 - 25
Screen Printing - June/July 2018 - 26
Screen Printing - June/July 2018 - 27
Screen Printing - June/July 2018 - 28
Screen Printing - June/July 2018 - 29
Screen Printing - June/July 2018 - 30
Screen Printing - June/July 2018 - 31
Screen Printing - June/July 2018 - 32
Screen Printing - June/July 2018 - 33
Screen Printing - June/July 2018 - 34
Screen Printing - June/July 2018 - 35
Screen Printing - June/July 2018 - 36
Screen Printing - June/July 2018 - Cover3
Screen Printing - June/July 2018 - Cover4
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