From Lola and Lolo’s Archive

Monotype prints displayed on a Banig (filipinx woven pandan mat) with additional banana leaves woven in. Paintings based on photos from my Lola (grandma) and Lolo’s (grandpa) familial archive, re-interpreted through print. Approx. 9ft 6in x 5ft

I started out with re-creating images from my mom and aunt’s childhood in Winnipeg. I was drawn in by the vivid colours of the photos from the late 70s. I was interested in leaving the faces blank and layering two images from the same instance together. In these two prints I was focusing on capturing the feeling of the memory and the idea of re-remembering.

I then wanted to explore images that I wasn’t so familiar with. A group photo where I only recognize my Lolo. Older photos of people I don’t recognize at all. Through my conversations with my grandparents, I found out that one photo is of my maternal great, great grandmother. But the other photo is from my Lolo’s mom’s collection, and there is no information on who these people are. The only identification is the naming of my Lolo’s home province, Cebu as a stamp in the corner.

(Left) My great, great Lola (Right) Lola and Lolo

For my installation I wanted to create a living room like space. The monotypes hung akin to a familial photo wall. I used the banig to move away from the white gallery wall but to also add to creating a home-like environment. Banigs are usually put on the ground for sleeping/sitting and are always hand made. I wanted to highlight the craftsmanship by putting it up on the wall, adding my own weaving of the banana leaves as a pop of colour and to add to the organic shape of the mat.

This project is not only an exploration of monotype as a medium, but to honour my heritage and lineage.

I was first introduced to Monotype through a print class with Mark Johnsen in 2023. This print process felt like it held so much more freedom for experimentation than what I was familiar with. This aspect is what initially drew me in.

That year I recreated a portrait of my Lola and her immediate family, in which I play with the presentation of the front and back of the original photograph. The top layer is a vellum print, containing the handwritten identification found on the back of the referenced photo. These names are usually written as archival information that also functions as a memento for family back in the motherland. The writing is from my grandmother’s perspective, noting who has passed away and who has married whom.

The vellum paper acts like a protective sheet, both shielding the print from external harm and external gaze. It obscures the main print, creating ghostly like glimpses that invite the viewer to physically interact with it. As the viewer lifts up the vellum, they participate in a cycle of uncovering and covering the portrait.

This is where this journey started

Lola and Her Family, 2023, monotype on paper and vellum, 30 x 22.5″

I found myself always coming back to making art about my family, specifically my grandparents and their photo collection. My Lolo has this family Tree book that is full to the brim with scrapbooked mementos and pages filled with his writing. I wanted to scan this book along with all their photos. Little did I know that what was one shoe box of photos turned out to be 6.

During this time my great aunt passed away and it was a hard time for my whole family. Looking through my grandparent’s photos, one photo stood out to me. It was a portrait of her young self, but what piqued my interest was her written message on the back. A message for a “Nick dearest” that no one knew. I felt that the back of the photo held as much importance as the front. I knew I wanted to try silkscreening this image, but with her passing I felt unsure about sharing something that felt precious and sacred with others, especially in a critique space.

I silkscreened images of my great aunt, photos of my grandparents and family, as well as a photo from four generations back. I created these parol (Filipino star lantern) inspired drawings that I printed on top.

Parol: A Window, 2025, Silkscreen on rice paper and trace paper, 19.5 x 12.13″

I thought a lot about preservation of personal histories and how much is lost to time or to death. I chose to layer tracing paper on top of my prints to protect and obscure the images. I wanted to re-create this restriction I felt, in not being able to access certain information and knowledge of my family/ancestors.

Last term I explored scaling my images up in size and using silkscreen monotype. I rendered a photo of me and my mom celebrating my birthday in the Philippines. I was too young to remember my time there so I wanted to fragment the image by doing a triptich and use both the material of yupo paper and the silkscreened ylang ylang flower to obscure it. I used the ylang ylang as an additional layer both as a separate print and printed directly on the image. I also experimented with cutting out the ylang ylang and using Gudy O as an adhesive.

Maligayang Bati, 2025, monotype, 35.5 x 58.5″

Maligayang Bati (ylang ylang), 2025, monotype, 30 x 59.5″

Another element of the project was rendering the “clutter” in the image, the “non-important” elements of the photo. I also used silkscreen monotype for these paintings.

I was interested in reassembling this image after taking it apart so much. I was left with so many pieces of the work and a lot of different routes for final installation. In the end, all works were valuable exploration for my project and practice.

Special thank you to my teachers Mark Johnsen, Gwenessa Lam, and Beth Howe who have helped to support and guide my work. Shout out to the all the technicians at Emily Carr who help enrich/run the school with their vast knowledge – Thank you Geoffrey, Vanessa, and Shin <3 And of course thank you to all my peers for the support! There are too many names to write, but I will miss all our times finding the time to have fun during these stressful times, my work couldn't have come together without you all <3 Thank you to my friends and family for all the support and a super special thank you to Rowan!

With Love,

Maya Lorena