Beyond the plates and paper

MANILA, Philippines — Artists gathered to pay respects to the Father of Philippine Printmaking: acclaimed printmakers Pandy Aviado, Fil Delacruz and Raul Isidro all spoke fondly at a commemorative event held at the Cultural Center of the Philippines for Manuel Rodriguez Sr., affectionately called “Mang Maning.” He lived to be 105 and devoted most of that time to pioneering the art of printmaking in the Philippines. Upon returning from his New York scholarship in the ’60s, he established the first printmaking workshop and went on to found the Philippine Association of Printmakers (now called Association of Pinoyprintmakers, or A/P) in 1969.

Printmaking is the process of making artworks by transferring an image onto paper. It has existed at the peripheries of our culture since the Spanish colonial period, albeit not necessarily as an art form, as religious orders each owned a printing press for the production of books. Religion furthey utilized printmaking through estampitas, pocket devotional prints with religious images. The 18th century saw a rise in engraved visual art, but this waned in popularity in the 20th century. It has since been brought back and gained traction through the efforts of Mang Maning, his contemporaries and successors.

The sheer variety of techniques (e.g. woodcut, linocut, etching), as well the room it affords artists to experiment makes it a highly appealing medium. A/P President Benjie Torrado Cabrera specializes in engraving, having attained a study grant in Atelier Contre Point in Paris, and extends his craft to produce sculptural pieces: “Parang ritwal kasi siya, hindi siya direct technique. May process, so kumpara sa painting, kung ano ang pinahid mo, kita mo immediately. Eto, may element of transfer, may element of surprise, at parang ceramics, anytime pwedeng mabasag siya. Ito, anytime, pwede ring ma-ruin dahil sa acid bath. Maraming process, may designing may printing at may plate-making. At take off to a different medium ‘yung printmaking, napaka-versatile niya.”

There are avenues for one to learn and create, if one knows where to look. Awarded artist and former A/P president Ambie Abaño underscores the importance of printmaking venues, for the materials and community with fellow printmakers: “You need the facility. If you’re a printmaker tapos may nahanap kang other printmaker, it’s like finding a long-lost relative, because you can talk about anything (related to) printmaking. You can talk about paper for a whole day and get excited about it.”

A/P, in particular, has a workshop at the back of Tanghalang Francisco Balagtas, along F. Ma Guerrero St in Pasay, complete with an etching press, lithography press and a stunning view of Manila Bay. But the most impressive detail about this workshop is its national recognition. “Itinuturing ito na national workshop kasi it’s recognized for its long years of existence and operation,” says Abaño. Expert printmakers and hobbyists alike can coexist in this same space. Abaño mentions that artists such as herself, Cabrera, Aviado, Isidro, and Delacruz have their own studios and machines in the house, but she personally prefers to go to the A/P workshop.

Printmaking has been said to democratize art; the prints are made of paper, making them more affordable than canvas or sculpture. They are also made in multiples of an edition. However, because of these editions, there is a misconception about printmaking lacking in originality: “Sinasabing printmaking is ‘not original’ kasi maraming edition, so ibig sabihin, the same image can be done na maraming kopya. Ang tawag nila sa prints ‘kopya,’ ‘yung plate mo lang ‘yung original, but it’s not really a reproduction,” says Abaño. Prints are not reproductions of a painting; rather, each print has an element of originality.

Although there has been a considerable rise in popularity because of the dedication of its proponents, the art of printmaking deserves much more attention in the local art scene. Neil Doloricon, a social realist artist and professor at UP CFA, is all too familiar with the challenges that may potentially discourage one from pursuing art: “Alam mo ba na may print ako sa MAPEH book ng Grade 6? May mga librong hindi nagpapaalam, ‘yung iba, ginagrab lang nila yung prints. Maganda naman ang popularization, pero mahirap ituro ang attitude, kung nalaman nilang hindi ka kikita rito wala na,” he says.

Aside from the lack of importance given to the art, Doloricon cites the need for better art education, and more exposure for local printmakers by mainstream outlets: “’Kung hindi ka tinangkilik ng mga mainstream galleries, you’re out of the picture. So not until ‘yung mga mainstream galleries, tumulong sila sa popularization of print, hindi magiging maganda ang future ng printmaking. Sila ang nagpapatagpo. May efforts sila to project your art, for example, sa social media. Kung wala ‘yung efforts na ‘yan, hindi ‘yan mangyayari.”

A/P will soon celebrate its golden jubilee, turning 50 as an institution this May. Its members are intimately familiar with the history and lineage of their craft, and some have even had the privilege to study under Mang Maning — who remained lucid and imparting his knowledge up until his last year. “Walang masyadong tumugon sa mga kasabayan niya, pero ‘yung sa mas bata sa kanya, nandiyan sila Brenda Fajardo, and then later on si Pandy Aviado, tapos tuloy-tuloy ang pagtuturo, tinuruan nga niya si Adiel Arevalo. Mula roon sa engagement na ‘yun, doon nagmula ang ideya na magtayo ng isang asosasyon ng mga printmakers,” recalled Abaño, one such artist who was able to study under the Father of Philippine Printmaking himself. In fact, Brenda Fajardo was the printmaking teacher of Doloricon at UP CFA — where he now goes on to teach his own students and mentees. “Makikita mo ang lineage, may teacher ka tapos itatransfer mo yung kaalaman sa susunod,” notes Cabrera.

Doloricon says that it is good to be engaged in printmaking at any level, but what is needed is a collective effort at uplifting printmaking — from purveyors of art to the printmakers themselves, ultimately contributing to local art as a whole. “Magandang mas maraming gumagawa ng hobby na ‘to, pero hindi pa yan eh, diba dumadami ang data, makakatuklaw, may bago na naman. So kung wala nang participation, wala na tayong aasahan development and progress ng ating local art. ‘Yun naman ang sum total, ’yung participation sa Filipino arts and culture.” What is needed, is determined young artists to continue the lineage of Filipino printmakers to study, compete, exhibit and collaborate to expanding this niche art form to the mainstream.