The future of Filipino printmakers, today

The future of Filipino printmakers, today | Daily Tribune

Think of the founding fathers of Philippine printmaking — Manuel Rodriguez, Juvenal Sansó and Virgilio Aviado — plus several others, old and new. The exhibit, Perspectives in Philippine Printmaking, features them all.

This landmark showcase presents a sweeping overview of Philippine printmaking, tracing its evolution from the 1950s to the present. With over 200 prints on display, it serves as both a historical retrospective and a testament to the resilience of the medium.

But first, let’s take a walk through history.

The Philippines’ engagement with printmaking dates back to the Spanish colonial era. The first printed materials — pioneer maps, religious pamphlets and textbooks — were produced as early as the 16th century. They were often created or embellished by Filipino artisans, such as Tomas Pinpin, Francisco Rodriguez and Laureano Atlas. These pioneers worked with woodblock printing and engraving, helping spread generation information and Catholic doctrine.

“In the late 1950s and early 1960s, several events contributed to the growth of printmaking as a viable medium for art in the Philippines. This means that the growth of printmaking is tied to Philippine modernism as a whole. This is not to say that the Philippines lacked a tradition of printmaking. In fact, the colonization of the country was largely documented and aided by printmaking,” wrote Fundacion Sansó’s museum director and curator Ricky Francisco in the exhibition notes.

However, printmaking as an artistic medium only gained serious traction with the rise of Philippine modernism in the mid-20th century. The Art Association of the Philippines legitimized the craft by introducing a printmaking category in its annual competition, where the legendary Anita Magsaysay-Ho won first prize in 1952.

But it was the 1957 exhibition of prints and drawings that truly ignited national interest, leading to the formation of the Philippine Association of Printmakers (PAP) in 1968.

The ongoing show, held at the Sixth Floor Gallery of the De La Salle-College of Saint Benilde’s D + A Building, highlights the works of Manuel Rodriguez Sr., the “Father of Philippine Printmaking,” who pioneered etching, woodcut, and lithography in the country. His legacy continues to inspire generations of artists. Also featured are the works of Juvenal Sansó, known for his dreamlike, surrealist imagery and Virgilio Aviado, whose experimental techniques helped redefine the possibilities of printmaking. Even contemporary artists like Ronald Ventura have embraced the medium, merging traditional printmaking with modern aesthetics to create innovative and layered compositions.

Transforming an entire hallway into an art space, Perspectives in Philippine Printmaking is a bold and immersive experience. The vision was brought to life by Dindin Araneta, Center for Campus Art director and a key figure in Art Fair Philippines, who collaborated with collectors and institutions to curate an extensive collection.

Contributions from the Pura Kalaw Ledesma Collection, Fundacion Sansó, Talyer 15, and student artists ensure that the exhibit represents both established masters and emerging talents.

Adding to the impact of the display is the striking red strip running through the hallway walls — a design choice made by Gabby Lichauco, professor of Design and Head of Special Projects at the college. The red strip serves as a unifying element, ensuring that every piece is viewed within a cohesive visual framework.

“With this exhibition, a good sampling of techniques involved in printmaking is shown. But more than that, it is hoped that inferences can be made about the social contexts that enabled printmaking to exist and flourish, and how print reflects the various socio-political issues of our country over time,” continued Francisco.

Despite concerns that digital technology might overshadow traditional printmaking, this exhibit proves otherwise. The presence of the legendary pieces alongside the student works demonstrates that the craft is not only alive but thriving. Through Perspectives in Philippine Printmaking exhibit, one thing is clear: printmaking is here to stay.