13 Roberto Chabet, Jose Joya, Juvenal Sanso, Cesar Legaspi,and Anita Magsaysay-Ho in his studio. Aviado continued to pursue and perfect his creative and technical skills in printmaking during his college years. In 1964, he decided to enter the Shell Student Art Competition and two of his prints garnered first prize and honorable mention. Aviado began to join group exhibitions, first with the printmaking apprentices of Rodriguez, where he and Jo Escudero were the guest artists and in the group exhibition organized by Rodriguez at the Chatham Gallery in Hongkong. Aviado and Escudero mounted a joint exhibition at the AAP Gallery in 1965, and Arturo Luz invited Aviado to consign his prints at the Luz Gallery. In 1967, he had his first individual exhibition at the Luz Gallery when it opened its new space along EDSA. With the recommendation of Fernando Zobel, Aviado obtained a study grant in Madrid, with Zobel providing the airfare. Aviado underwent further training and specialization in etching and lithography at the Escuela Superior de Bellas Artes in San Fernando and at the Ecole des Beaux Arts in Paris. In his first individual exhibition at the Luz Gallery in 1967, Emmanuel Torres wrote that: “In prints dealing with recognizable reality, there is an abundance of subjects reflecting an omnivorous curiosity; colonial santos, sarimanok designs, faces and anatomies stripped to their nerves and arteries, Haniwa figures, rundown Manila houses, Venus fly-traps, Mangyan primitive stick-men, etc…His prints reverberate with a wide battery of artistic influences…But what is unexpected is his ability to impose his own personality upon such borrowed idioms to make his individual voice heard above the voices of his varied influences… Aviado’s imagination crackles like a live wire shooting off strange new sparks. Watch it.” Torres also wrote that Aviado is “one artist whose prodigious creative energies are almost totally consumed by printmaking” and is “proficient in a variety of graphic art media—intaglio, woodblock, collography and others—an artist of prodigious enthusiasm, vivacity and unpredictableness.” In his exhibition notes for this first solo exhibition, Roberto Chabet added that in viewing Aviado’s works “…one forgets that they are prints. Simply, instead, one sees pictures, visual experiences forcefully, convincingly, at times fearfully and disturbingly given form.” In 1970, while Aviado was in Spain for his study grant, Roberto Chabet, then Museum Director of the Cultural Center of the Philippines (CCP), had selected Pandy Aviado for a group exhibition, entitled Thirteen Artists . Chabet explained the curatorial criteria of his selection: “The artists represented…belong to a new generation of painters, sculptors, and printmakers that promises to dominate the Philippine art of the seventies. This is a young group whose average age is 28. Not surprisingly, their works show recentness, a turning away from past, familiar modes of art-making, a movement towards possibilities and discoveries. It is recentness that is made credible by a keen awareness of artistic problems, an articulate command of means to pursue innovative solutions, and a confident commitment to ideas.