Serendipitous Encounters at STPI

CEBU, Philippines - Within Singapore's STPI (Singapore Tyler Print Institute) lives and breathes a vibrant community of dedicated print artists.  With resident artists coming from all over the world to help the institute promote this distinct genre (including some of the foremost names in the Philippine art world such as Bencab, Lyra Garcellano, Geraldine Javier and Pacita Abad), STPI is arguably the region's hub for printmaking.

I recently found myself at the doorstep of STPI when, on a whim, my brother and I strolled through the Lion City's hot and humid streets.  It was right after lunch and many restaurants beside the quay were still catering to the brunch crowd's demands for comfort food and ice cold beverages.  After an uninspired meal at an overheated cafe, we decided to follow the river's contours just to stretch our legs.  We then spied a flyer announcing the open house for STPI, and figured, "why not?"

We walked just a couple of blocks down, and located the quiet corner into where the center was tucked.  A peek into the glass doors saw a flight of stairs leading up to the lobby, and we were suddenly inside blissfully cool chambers and more importantly, a treasure trove of art.  On display were marvelous examples of print styles and influences, exemplified by Roy Lichstenstein's rendition of Wonder Woman, "Reflections on Minerva".

This was such an unexpected find for a DC fan that we spent quite a few minutes gaping at Mr. Lichstentein's work.  This was, of course, a product of the man described in the New York Times as an American classic, known the world over for his look that "isn't big, but it's smart; cool and dry, but accessible.  Connoisseurs and know-nothings alike can enjoy it, and for some of the same reasons. And there's the recognition factor: very high. Once you've encountered his work, you'd know it anywhere."

Indeed, we knew this work at once, for it carried all the Lichstenstein trademarks, the "deft, tight, virtually foolproof art style, one that was based on agility rather than brawn" which "looks like no one else's."   There was one other sample of his work that we enjoyed, the "Reflections on the Scream", which also gave such cool pleasure on that hot afternoon.

"Profile Airflow", a piece by Claes Oldenburg, was also awe-inspiring.  This is a glass-green rendition of a vintage automobile in cast polyurethane relief.  The many-tiled work is such a retro piece that it seems to have been molded this 21st century.  But it is a 1969 piece, and tells us that at that time, artists were already far advanced in technique and methods.

Aside from the regular fare offered by STPI, there was also a special treat that day: access granted to the inner chambers of the institute!  Visitors were allowed to go deep within its normally off-limits bowels, and learn about the secrets of print making.  We followed the arrows painted on the floor, and landed in the basement, where various artists and their assistants allowed kibitzers and genuine art lovers the opportunity to try their hand at creating print.

Aside from choosing pre- cast wooden blocks, rubbing materials a la frottage, and mixing colors, visitors could also get their hands wet by dipping into the fibrous concoctions necessary to make samples.  We dutifully lined up to try our hands at the various stations, and got free cutesie prints to frame as a reward for our efforts.  Kids could even have tees printed with their favorite design.

With all that effort and creative genius involved in creating prints, it's a no-brainer that STPI would seek linkages with the "new" breed of artists.  And so with bated breath, the Philippine art world awaits the unveiling of the recent collaboration between STPI and the wonder boy of Filipino artists, Ronald Ventura.

This November 16, 2012, Ronald shows his ouevre in "Recyclables", his one man show at the institute.  After exciting Asian art fans with his recent works, leading to the auction at Sothebys of his 'Grayground Painting' for the blockbuster price of more than a million US dollars (HK $8,420,000), Ronald's new forays into print should delight fans of his.

STPI describes his forthcoming works as pieces that "explore humanity's relationship with its environment and challenges our belief system in a wide range of art produced from rubble and mythology".  Ronald himself is quoted by the institute's website, and his message seems to be about averting the impending doom that threatens the globe with the advent of ever more destructive natural disasters.  Whatever they are, these pieces promise to be effective media at communicating his ideas to an international audience.  And of course, adding to the pride of Filipinos the world over.

Perhaps, with the increasing patronage of STPI, a non-profit organization founded in 2002, more Philippine artists can land in the same category as that which Roy Lichstenstein occupies: truly classic.