Reflecting on Our First Documentary in Oaxaca: A Journey into Printmaking

It's hard to believe that we've completed our first documentary, a project that's been a dream in the making for years. I have shared this idea with many people and finally went to the right ears of my podcast co-host, Miranda Metcalf. We've traveled far, experienced so much, and learned even more — all of it capturing the essence of printmaking in Oaxaca, Mexico. I wanted to take a moment to reflect on the journey, the hurdles, and the incredible support we received along the way. We haven't had the experience of making an international documentary before. Ashley and I made a docuseries traveling over 6,000 miles around the US, filming printmakers in their studios. Still, we knew how to tell stories, plan, and find help to achieve our goals.

Since 2020, I've been fortunate to be invited as a co-host for the Hello Print Friend podcast, where I've collected over a hundred interviews with printmaking artists from Spanish-speaking countries, contributing to the growing bilingual archive of the podcast (Miranda has collected double that amount). During these conversations, one place stood out as a "Mecca" of printmaking — Oaxaca, Mexico. Known for having the world's most print studios per capita, it seemed almost inevitable that the narratives we collected would be transcribed from audio to video. I felt a strong pull to capture the essence of what we were hearing in person, so I contacted my United World College Costa Rica roommate, Christian Riquelme, to join us in filming and editing this adventure. Christian's expertise and passion for storytelling made him the perfect partner for this project.

The process started with conversations with Pável Acevedo and Carlos Barberena. We began to connect the dots, collect the stories, and understand how deeply Oaxaca's rich history of art-making is intertwined with resistance. This isn't just a place of beautiful art; Oaxaca is a place where artists have long been at the forefront of standing against oppression. One striking example is how Francisco Toledo took a firm stand against McDonald's attempts to open in the city's center, prioritizing local identity despite Oaxaca's growing popularity as a tourist destination. Francisco Toledo is one of the most prominent figures in the printmaking scene who developed some of the most critical print studios that became a foundation for what exists today. Some people believe the government has put his recognition aside due to his political ideals. There's a deep sense of pride in the authenticity of Oaxaca, which has fueled the resistance seen in both the art and the people.

After traveling to Oaxaca, we selected a group of artists to interview to expand the story of Oaxacan graphic arts and capture its modern transformation. One pivotal moment in this history stands out: the 2006 teacher protests. This period, marked by violence and oppression, was when printmaking became a tool for political activism. Teachers and artists used the power of print to voice their concerns about the injustices surrounding compensation in education in Oaxaca. They took to the streets, wrapping and wheat-pasting the city walls with powerful printed imagery to raise awareness. This protest, which resulted in the loss of lives, marked a before-and-after moment for Oaxacan graphic arts.

In the aftermath, printmaking flourished as a vehicle for political and social commentary. Artists began to create prints filled with urgency, exploring themes of resistance and justice. This movement expanded Oaxaca's artistic imagination and began attracting the attention of foreign eyes. What was once a local practice became a global conversation. Oaxaca's printmakers were making a cultural shift, not just creating art.

As we filmed and gathered these stories, it became clear that Oaxaca's printmaking tradition is vibrant and deeply embedded in the community's identity. We witnessed a level of technical mastery in printmaking and an abundance of production I had never seen before. The work being made here is elevated, with an aesthetic unique to the region. For example, the prints of Daniel Hernandez and Gabriela Morac are full of magical realism and incredible detail that speak to the area's deeply rooted cultural traditions, from the region's mystical animals to the matriarchal practices of native groups.

One of the most striking moments was hearing the story of the "Maquina Voirin" press making its way into Oaxaca. France's fantastic automatic lithography press now resides in La Buena Impresión, a prominent regional studio. We also saw the walls of Santisima, a gallery covered from floor to ceiling with prints. We marveled at the stunning, colorful stenciled murals from La Piztola, which beautifully depict portraits of native children and intricate patterns. We experience a powerful collective with life-size woodcuts of the Oaxacan people and political stands at "Subterraneos" studios. We witnessed large, colorful reduction blocks by NK Kabrito at the Taller la Chicharra, where we were introduced to a registration method using needles. The experience was truly overwhelming, both in its technical brilliance and emotional impact, as well as in culinary experiences. Allan Altamirano introduced us to one of his chef friends, who provided us with a contemporary meal that blew my socks off.

We also had the opportunity to visit Hoja Santa, the first dedicated all-female printmaking studio, a testament to the changing landscape of Oaxaca's art world. We explored the graphic world of El Pasaporte Gráfico, a network of studios, each contributing to the incredible diversity of printmaking in the region. On top of all this, Gabriela Morac invited us to her home, where we were treated to an unforgettable meal of mole. It quickly became one of our favorite experiences in Oaxaca (better than many of the touristic and renowned restaurants we visited).

However, the journey wasn't without its challenges. While the team was always there to keep the spirit up, there were moments of disappointment. One of the most challenging moments came when master Shinzaburo Takeda, the key figure in our documentary, rejected our interview request. After inviting us, he only took a few minutes to send us away, uninterested in answering our questions. That moment stung. I was frustrated and, honestly, ready to quit. But as we drove back into town, We took a moment to reflect and remember we had a story to tell, and it wouldn't end with a setback.

Thanks to Christian and Miranda's unwavering support, we restructured the plan, updated the calendar, and shifted our focus to discover more studios and speak to artists we hadn't originally planned to interview. And I'm so glad we did. Those adjustments led us to find even more vibrant studios and incredible stories. Oaxaca is rich with creative energy, and the surprises didn't stop. We uncovered work that was breathtaking and full of new perspectives.

But that wasn't all. During the shoot, we faced some real challenges that tested our resolve. Our audio technician unexpectedly left us. It was a blow, but we didn't let it hold us back. On top of that, the rest of our team was hit with issues one by one. From a stomach bug that knocked one person out for days to a throat infection that sidelined another, we found ourselves battling illness while on location. To top it off, I was mugged, losing a couple of teeth, gaining a few stitches under my eye, and losing some of my personal belongings in the process, waking up in a local clinic after touring other health facilities that couldn't accept me. Thanks to the support of our trusted driver Eloy, we found a place to be taken care of and a fantastic dentist who brought my smile back to life. It felt like everything was going wrong all at once, and we were attempting to understand what destiny was trying to teach us something.

But despite these setbacks, we managed to stay focused. The team rallied around each other, and we kept moving forward. The only thing that's predictable in life is that it's unpredictable. And I'm grateful for that. The unexpected hurdles, though difficult at the time, made the successes all the more rewarding. We pushed through the challenges, supported one another, and became stronger because of it.

Through all the trials and triumphs, the actual value of this journey was the learning process — not just about printmaking, but about life itself. The openness to experience, to listen, and to reflect was invaluable. One of the most profound experiences was spending time with Carlos Bautista and his family in the mountains of Oaxaca, eating Memelas. Their way of life, deeply connected to nature, was a powerful inspiration. They've magically cultivated an existence that merges art, family, and the natural world. The tranquility and thoughtfulness of the space they've created are unlike anything I've ever seen. It was a moment of awe that will stay with me forever.

In the quiet of the mountains, I was overwhelmed by the beauty of the Oaxacan landscape. I had the chance to pause, reflect, and take it all in, even if it meant just sitting and answering nature's call, consumed by the magnificent view, the fresh air, and, of course, the Mezcal. Standing there, overlooking the high forest with the wind making the trees dance gently, contemplating how fortunate we are to be there. The time spent with Carlos and his family reminded me that we can find beauty in the most minor details and gain inspiration from the simplest moments.

For me, this documentary was never just about the prints or the artists we met—it was about learning to listen, facing the uncomfortable, experiencing, and growing. It was about understanding the power of resistance, relying on the support of friends, community, and the deep cultural heritage that fuels the Oaxacan artistic tradition. And it was a reminder that, sometimes, the most powerful lessons come not from what we capture on camera but from the moments shared with Mezcal, which we had plenty of during our visit. At the end of our trip, we recovered the spirit. We were invited back to visit Shinzaburo Takeda's house; this time, he emerged from his studio with his two Chow Chows. We entered the facility and were welcomed by a table with snacks and high-end Mezcal. We were instructed to bring a bottle as a gift. Still, we were offered another one that contributed to our week-long tasting experience (kind of like a ritual every time you visit a print studio). We finally talked to the legend and experienced why so many young artists are deeply inspired and look after him. Takeda has contributed to forming a new generation of printmaking that continues to shape the contemporary scene of printmaking in Oaxaca. Takeda is a native of Japan but a Oaxacan at heart; he came to work and pursue his artistic dream during the core of his youth. Little by little, he became an educator. He forged a legacy of a prominent body of art, from painting to printmaking, that made him a national treasure. In his over 80 years and with a contagious smile and powerful presence, we were able to reflect on the politics of the area and the unique combination of heart, resilience, and energy that makes Oaxacan printmakers some of the best in the world.

So, as we move forward with this project and others to come, I'm thankful for the openness of the experience, the challenges that pushed us forward, and the lessons learned along the way. The road ahead is full of possibilities, and I can't wait to continue learning from the stories, the people, and the incredible cultures we have yet to discover. With our growing team, I want to continue filming stories like this one worldwide.

If you haven't already done so, check out the documentary and let me know your thoughts.

Sincerely,

— RGZ

Special thanks to Alfred University Institute for electronic arts, Gonzaga University and the participant artists.

Watch our short documentary in Oaxaca here. Password: mezcal

Oaxaca

Chiang Mai