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Ancient Marks in Liquid Light
The Taíno spiral emerges in alcohol ink—that fluid, unpredictable medium that bleeds and blooms according to its own logic—rendered in pink that shifts from blush to magenta to coral, colors that evoke flesh, sunrise, the inside of conch shells pulled from Caribbean waters. Over this liquid foundation, gold embossing rises in relief, catching light, transforming the ancient petroglyphs carved in limestone caves into something tactile and precious, insisting on their value in the literal language of gold.
For the Taíno and Arawak peoples of the Caribbean, the spiral was fundamental sacred geometry. Carved into cave walls throughout Puerto Rico, Hispaniola, Cuba, Jamaica, and the Bahamas, these spirals represented the juracán (hurricane)—that devastating rotating storm system whose Taíno name we still speak when we say "hurricane." The spiral marked cyclical time, the soul's journey through birth, death, and rebirth, the path between the earthly realm and Coaybay, the land of ancestors. Spirals adorned caves that served as ceremonial centers, burial sites, and portals where behiques (shamans) could journey between worlds using cohoba, the sacred hallucinogenic snuff that allowed spirit travel.
Pink—unexpected, tender, vulnerable—brings these ancient symbols into the realm of the body, the heart, the flesh that was violated during colonization but never fully destroyed. Pink is blood diluted in water, is the color inside the mouth that speaks language nearly erased, is dawn promising another day of survival. The alcohol ink's characteristic bleeding and flowing honors how Taíno culture spread, mixed, survived—not in pure isolated form but bleeding into African traditions, into Spanish language, into the mixed-race Caribbean peoples who carry indigenous DNA even when records claim their ancestors were "extinct."
Gold embossing elevates these spirals from cave walls into the realm of the precious, the valuable, the worth-protecting. Gold—what the Spanish sought, what they murdered for, what they believed justified genocide—here serves indigenous symbols, outlining spirals that existed before European greed, that will outlast colonial amnesia. The embossing creates dimension, makes the spirals rise from the surface, demands you acknowledge their presence through touch and sight. These are not relics, not artifacts safely dead in museums. These are living symbols, still turning, rendered in pink that bleeds like survival and gold that insists: this knowledge was always precious, always valuable, always worth more than what you came here seeking.
Professional quality ultra high resolution and fade-resistant Giclee printing on natural white 210gsm matte fine art paper. Natural, renewable, and sustainable materials.
Printed with water based inks on recyclable paper, with optional timber frame from our FSC certified supplier with acrylic glass. Professional quality full colour fine art poster prints.
Size Guide
Centimeters
|
A4 |
A3 |
A2 |
A1 |
| Width |
21 |
29.7 |
42 |
59.4 |
| Height |
29.7 |
42 |
59.4 |
84.1 |
Printed with water based inks on recyclable paper, with optional timber frame from our FSC certified supplier. Professional quality full colour fine art poster prints.
Product Specification
Printed with water based inks on recyclable paper, with optional timber frame from our FSC certified supplier with acrylic glass. Professional quality full colour fine art poster prints.
