The Cultural Center of the Philippines 
in cooperation with Philippine Association of Printmakers


To view the prints, contact Ms. Rebecca Jose at 832-1125 local 1808 


In celebration of the Center’s 45th Anniversary in September, we are excited to announce the production of a rare and valuable Folio of Prints composed of the works of twenty-five (25) leading artists.  Dubbed as "25@45", each folio contains 25 prints with an edition of 25 each. 1/25 to 25/25." (Hors de commerce or A.P.s or artist's proofs are 5).  The works of the following topnotch artists are included:



Jose Ardivilla

PandyAviado (13 Artists Awardee)

Mars Bugaoan

Benedicto Cabrera (13 Artists Awardee, National Artist)

Benjie Torrado Cabrera

Joey Cobcobo (13 Artists Awardee)

Fil Delacruz (13 Artists Awardee)

Janos Delacruz

Neil Doloricon (13 Artists Awardee)

Imelda Cajipe-Endaya (13 Artists Awardee)

Brenda Fajardo (13 Artists Awardee, Gawad CCP Awardee)

Noell EL Farol

Jess Flores

Eugene Jarque (13 Artists Awardee)

Lenore R S Lim

Arturo Luz (National Artist)

Angelo Magno

Jonathan Olazo (13 Artists Awardee)

Romulo Olazo (13 Artists Awardee)

Renan Ortiz(13 Artists Awardee)

Manuel Rodriguez, Sr.

Pam Yan-Santos (13 Artists Awardee)

Ofelia Gelvezon-Tequi (13 Artists Awardee)

Wesley Valenzuela


The Folio is priced at Two Hundred Fifty Thousand Pesos and 00/100 (Php 250,000.00).  The proceeds of the sale will fund the Center’s Arts Education and Audience Development Programs. Should you need more information, Ms. Dominique Dionisio will be happy to assist you.  You may contact her at 832-1125 local 1801 or at 0917-5221274 / 0929-7848783.  You may also e-mail her atccpmembership@yahoo.com.



The 25@45 Print Folio represents the versatility of Filipino artists today in employing the wide range of printmaking methods. Intaglio is the general term for a graphic technique wherein design is incised or engraved into a material (often a metal plate). It adapts to a wide range of styles and effects a printmaker wishes to achieve, from the linear to the almost painterly. Images in a relief print are produced from the raised surfaces of a prepared block such as wood or linoleum sheet. In serigraphy, also known as silkscreen printing, ink is squeezed through a stencil mounted against a fine textile screen.



This project aims to promote the practice of and appreciation for the graphic arts, an advocacy Manuel Rodriguez Sr. began. He introduced printmaking courses to three universities in the 1960s (University of Santo Tomas, Philippine Women’s University, and College of Holy Ghost, now College of the Holy Spirit) and founded the Philippine Association of Printmakers (PAP) in 1968. The roster of current PAP members includes the stalwarts in contemporary printmaking who have, like Rodriguez Sr., continued to promote the medium through their innovative works and through teaching.



Since his first encounter with printmaking as a young student in Ateneo in the early 1960s, Virgillio “Pandy” Aviado continues to be among the most prolific in the graphic arts, particularly intaglio techniques, and in other visual art forms. Like his mentor, Mang Maning, Aviado has taken on the vocation to promote printmaking in his capacity as teacher and in past art manager positions at the CCP and the National Commission for Culture and the Arts (NCCA).  In the 1960s, he was also instrumental in leading his contemporaries to printmaking by doing editions for the likes of Roberto Chabet, Jose Joya, Ding Roces and Arturo Luz. 



Fil Delacruz gained critical acclaim for the series of mezzotint and lithograph prints that depict the mystery and bounty of nature and Philippine traditional peoples. Benjie Torrado Cabrera, Jess Flores, and Lenore R.S. Lim explore the pictorial qualities achieved through etching combined with other intaglio processes. Torrado Cabrera has even crossed the boundaries to create sculptural works in glass and acrylic panels and boxed objects enriched with etched and incised elements. Similarly Noell El Farol, current PAP President, applies intaglio and planographic methods in non-conventional formats such as book art and objects.  The relief method of woodcut is the medium of choice for Ambie Abaño translated onto different surfaces (paper and fabric) and configured in wall-bound or in-the-round forms. The success of PAP today can also be gauged through the achievements of its new members who have taken on the same passion and creative explorations in the craft. These include Angelo Magno, Joey Cobcobo, Janos Delacruz, Jose Ardavilla and Mars Bugaoan.


The content and logistics of this project was conceived with the assistance of past and present PAP current officers – Noell El Farol, Benjie Torrado Cabrera, and Ambie Abaño.  Guest artists, in particular, were determined by their individual contribution to printmaking whether in the past or current practice.  This was with the hope of engaging them once more in the graphic medium. National Artists Arturo Luz and BenCab created intaglio prints within the 1970s and 1980s.  The former with his abstract intaglio and collagraph, and latter with works based on Larawan series and Boxed Objects.  For the folio, the two National Artists used their distinct subjects in painting –linear landscapes and Sabel. Their images are first rendered on zinc plate and printed with the assistance of Pandy Aviado and Benjie Torrado Cabrera, respectively.



Ofelia Gelvezon-Tequi, Imelda Cajipe-Endaya and Brenda Fajardo, all known for their prints in the 1970s, revisit the graphic arts once again for this folio. Now based in Limieux, France, Gelvezon-Tequi captures a rustic scene from her home through the tedious intaglio processes of etching and aquatint. Fajardo and Cajipe-Endaya return to intaglio printmaking as means to express concern for the environment and the plight of women with the assistance of Benjie Cabrera and Ambie Abaño, respectively.  Romulo Olazo, another artist who made waves with his experimentation in printmaking in the 1970s, chose to work on serigraph, a technique that eventually led him to that distinct painting style known in his Diaphanous Series. His son, Jonathan similarly revisits relief printing, the medium employed for the series of rubber cut works presented in his first solo exhibition held at the CCP in 1984.



Although Pam Yan-Santos has always used stenciled elements in paintings, her contribution in this folio marks her return to serigraphy after a decade. The subject also reflects her experience as a young mother revealing her visual approach in teaching her sons how to tell time. Neil Doloricon and Renan Ortiz, both active members of the Concerned Artists of the Philippines (CAP), use the graphic medium to document everyday realities in the rural and urban settings. Doloricon’s sharp and bold lines underscore the farmers’ daily toil and Ortiz’ fine line etching captures the wrinkled and weathered face of an informal settler in the city forced to relocate. Parallel to his series of mixed media assemblages, Eugene Jarque’s print reiterates the process of constructing with linear precision. Wesley Valenzuela “collects” archival images of people and objects and translates into a screen print composition. 



Considering the variety of styles and artistic leanings each artist represents, the 25@45 Print Folio is a unique representation of some of today’s masters and mid-career and upcoming artists.  Conceived without a specific theme in mind, the Folio is thus a collective of the possibilities that may be achieved through printmaking. (MVT Herrera, September 2014)




Please click the link below to view the photos of the print folio items:


Print Folio - Complete list 26 Sept