By ELIZABETH LOLARGA
“DON’T just call your print a print. Call it by its specific name—a lithograph, a computer-generated serigraph, a woodcut.”
This is the guiding principle of printmaker Lenore Raquel Santos Lim, who had a retrospective exhibition, “Full Circle,” at the Cultural Center of the Philippines Main Gallery recently.
Lim, 65, who is based in New York City, came home for the event that saw her reuniting with family members, and batch mates from the University of the Philippines College of Fine Arts in Diliman, Quezon City.
Before New York, Lim and her husband Jose lived in the greater Vancouver area where she studied for a certificate in early childhood education at Dominic College in New Westminster, British Columbia.
She opened a preschool near a Catholic church in the French quarters. She volunteered to decorate the church for holidays and other community events.
She applied what she had learned from the only printmaking class in silkscreen she attended in 1965-1966 by designing personalized stationery for clients, incorporating a little woodcut in the process. She also designed flyers and brochures.
When it was time to pull up roots again and move to Manhattan, New York City, Lim taught at the UN International School near the East river (her new family home was in a building right beside the school). It was there where she did most of the works on exhibit .
Since she was teaching preschool, she and her pupils “got to do a lot of art,” she said. “They didn’t have to read yet. The school’s philosophy was learning through play.”
One time she visited the Museum of Modern Art when it was holding a big show that included the photo transfers of Robert Rauschenberg. Lim recalled: “I was overwhelmed! At that point I felt this is what I want to do.”
She applied and was accepted at the School of Visual Arts (SVA), a big school with campuses scattered all over New York City. Twice a week she attended night classes. From her Eastside home and after preparing dinner for the family, she went to class across town.
Although she finished her SVA courses, she retook some subjects to avail of printmaking facilities while doing independent work.
She signed up with Robert Blackburn’s Printmaking Workshop, a members-only group where printmakers bought the hours they spent there.
Lim collects and uses different kinds of paper for her works. She became known for her panuelo series—the lacy, fragile-looking upper part of a women’s terno (Philippine traditional dress).She even drew inspiration from and used the bridal veil of her mother Ella Orosa Santos of Taal, Batangas for a serigraph series.
Lim calls herself “a late bloomer because I focused on being a teacher and taking care of my family.” She shared her blessings by helping old friends like Nik Ricio and Jess Abrera mount solo shows in New York. She invited her friends there for the opening reception and prepared the cocktails herself.
Imelda Cajipe Endaya, a visual artist who has returned home after some years in upper New York, recounted that Lim was the most supportive of all who made things very welcome and easy for her when she went to live in New York.
She recalled: “For my exhibit at the Philippine Center in New York, without my asking, she did my reception. I admire her philanthropy. She is sincere and practical about helping artists. She does it in sensible, sustainable ways.”
Lim served as president of the Society of Philippine-American Artists, originally founded by another printmaker, Manuel Rodriguez Sr., for two terms.
Then she used her own savings to put up the Lenore RS Foundation that has two offices at the Manansala Tower in Rockwell Center, Makati City, the Philippines, and at 1400 Fifth Avenue #50, New York, New York. It helps talented artists mount exhibits in NYC, among other things.
Lim also published the books “Manuel Rodriguez: Into the Threshold,” and “Imelda Cajipe Endaya: Stitching Paint into Collage.”
Cajipe Endaya said of Lim: “I admire her for being disciplined, organized and determined. When she says she will do something, she will do it.”
She described Lim’s works as “soft, relaxing, soothing and impeccable in neatness.” She noted that in Lim’s latest photo-lithographs, “she has become freer” and her forms were brightly colorful and dynamic.
“High-end materials, equipment and facilities are at her fingertips in New York which make for her success,” she observed. “Many artists there use technology, collaborative effort and fabrication as art media; there is market acceptance for this. Lenore is one such artist.”