15 institution that named him as one of the first of the Thirteen Artists) and Head of the National Committee of Visual Artists of the National Commission for Culture and the Arts. Both government positions benefited from his network of artists and had pushed further the agenda for contemporary graphic expression. When the Mariposa Gallery and Workshop, in turn, closed in 1991, Aviado persisted in his vision for the popularity of the print medium by coordinating with various institutions for the acquisition of a lithography press courtesy of the French Embassy. The press was first under the custody of the UP College of Fine Art before it was transferred to its present location in the Folk Arts Theater within the CCP Complex, which is also the new and present home of the PAP and where training workshops on printmaking continue to be held regularly for the new generation of Philippine printmakers. During his participation at the Havana Biennale in 1991 Aviado, together with another Filipino participating artist Jun Yee, and Jose Ayala, who was the assistant director of the biennale, created and declared a manifesto for the use of indigenous materials in artmaking. The underlying concern was the care for the environment but a benefit in the long run is obtaining a sustainable, organic, and commercially viable supply of handmade paper for printmaking and other media. Like his mentors Manuel Rodriguez Sr. and Araceli Dans, the work of Aviado was never totally abstract but persisted on creating images from history, his personal world, popular culture, and classical myths on stone and copper. While his mentor Rodriguez had employed the usual Philippine tableaux of man and carabao, mother and child, images usually transformed into modernist stylizations in the NeoRealist canon, Aviado had mined images from the visual stimuli he relished during his heady years at the Ateneo Arts Club, when he would be attending exhibitions and lectures, watching art films such as Ingmar Bergman’s The Virgin Spring and Luchino Visconti’s Rocco and His Brothers , and drinking up the images of the print collection in the Fernando Zobel collection of the Ateneo Art Gallery. His sensibilities and affinities were shaped and informed by the intellectual camaraderie enjoyed in the company of friends like Emmanuel Torres, who was curator of the Ateneo Art Gallery and writers Luis Francia and Pete Lacaba. Academic courses in literature and in sciences such as chemistry, as well as a fascination with aesthetics and metaphysics, had equipped Aviado with a rich visual arsenal of imagery for graphic expression and other pursuits in poetry, film, animation, and essays and the disposition for meticulous draftmanship and mastery of the printing press. As an active practicing artist, Aviado continues to enrich Philippine graphic expression with concise, cerebral, and compelling images from imagination and memory. --Ditas R. Samson Senior Curator, Ayala Museum 19 November 2014