Embedded Files
Curatorial Rationale
Identity can be a complicated concept for many people to wrap their head around and fully understand, and I am no exception. Hence, my exhibition presents the viewer with an account of my struggle in uniting and embracing the different components of my identity and personal life. Within the space I am provided, my viewers walk into my exhibition from left to right. For this reason, Shed Light is the first and leftmost artwork the viewer will encounter as it depicts footprints walking into the light source of the photograph- effectively guiding my viewers into the rest of my exhibition to follow in the footsteps of my journey with my identity.
From here, my exhibition is split into two main parts. The left half of my exhibition includes artworks that portray negative messages about dualities and complications in my identities. For example, I arranged Mentirosa side-by-side, and to the left of, Aversion because the horizontal white lines that cut through Mentirosa guide the viewers’ eyes from left to right and directly to Aversion. I saw this as a strong visual connection as both pieces are about how my identity has deteriorated my relationship with my mother. The right half of my exhibition, however, includes artworks that demonstrate my discovery of how I can embrace the pluralism ingrained in my identity. Hence, the crucial artwork in connecting and anchoring these two halves of my exhibition is Before and After; the stark contrast between the left and right pomegranate halves symbolizes the contrast in negativity and positivity between the left and right halves of my exhibition. I make the importance of Before and After clear to my audience by noticeably making it the largest piece in my entire exhibition and spacing it farther apart from the rest of the artworks.
Overall, I arranged my artworks in a long line as this signals to my viewers that my process of reconciling the multiple facets of my identity was a long and arduous journey. I also arranged this line of artworks in a relatively straight line within my space provided so the viewer can see a clear difference between the sizes of my artworks; the artworks on the left half of my exhibition are all visibly smaller than those on the right half to represent how the emotions and perspectives embodied by the rightmost artworks are more prominent in my life in the present day. This also serves to guide my viewer through my journey of accepting my identity in chronological order as it unfolded. Moreover, I placed the majority of my artworks at eye-level for my viewers so they could comfortably get a detailed look at the smaller ones. Libertad, however, is placed slightly higher than the rest of the works to enhance the impression that the peacock is freely flying away as I explain in the statement for that piece. Mestizaje is placed slightly lower than the other pieces because it is partly about dance, so I wanted it to be closer to the ground (where people usually dance) within my space provided.
At the end of my exhibition, I reveal to my audience that Shed Light is actually a diptych that has been split in half across my entire exhibition, further enforcing the concepts of halves, duality, and opposites. This second half of the diptych is slightly higher relative to the first half within my exhibition space to represent how my journey has come to a much higher, positive point in my life. Moreover, the footprints walk away from the light source this time in order to lead my viewers away from my exhibition with a gratifying sense of closure. By bringing my exhibition full circle in this manner, my intention is that my long, arduous journey in balancing and harmonizing my identity will resound with my viewers and stick with them so that they may continue their journeys perhaps even using some of the knowledge they have gained from my exhibition. Lastly, I wanted to make it clear to my viewers that journeys of identity are never ending, and I express this continuity, again, by splitting the diptych of Shed Light across the length of my entire exhibition.
Shed Light
Shed Light
Digital photography, Adobe Lightroom
35.5x17.75 cm of each, 73x23.5 cm as a pair together as displayed
Many people tread through difficult journeys throughout their life; in my case, it has been the process of finding balance between different components of my identity and personal life. The impressiveness of these journeys, however, lies in our ability to grow stronger from them and perhaps even use them to leave a footprint in the lives of others and help them do the same. Hence, these photographs reveal the beauty left behind from struggling through these often quiet and solitary journeys.
Not Available
Mentirosa
Mentirosa
Digital photography, Digital Collage, Photopea Photo Editor
11.5x17.5 cm
My mother’s name is Rosa (Rose), and growing up I often joked that it rhymed with mentirosa (liar). When I came out to her, however, this became far less of a joke to me. The disappointment and disapproval that I sensed from her crushed the truthfulness behind the phrase “a mother’s love is unconditional” right before me. Of course, I know she still has love for me, but it feels incomplete- much like the incomplete image of her blocked by the hand with the rose (stock image from pexels.com).
Not Available
Aversion
Aversion
Digital photography, Adobe Lightroom
10x17.5 cm of each, 34x17.5 cm as a trio as displayed
My mother and I have always vehemently disagreed over my sexuality, and I hardly ever have the energy to confront her about it. After I came out, I would try to avoid my her and block out the long, hurtful homophobic lectures she would hit me over the head with. The first two images from the left show this nearly daily struggle in how I hide under the blanket and avert my gaze, and the nail in the last image represents this sharp, painful obstacle in mending my relationship with my mother.
Not Available
Never Enough
Never Enough
Digital Photography, Digital Collage, Photopea Photo Editor
17.5x17.5 cm
In the U.S., I feel pressure to show my rightful place in the country, regardless of my Mexican background. In Mexico, I have to constantly show I haven’t depreciated my cultural roots just because I live in the U.S. Even though I was born with my nationality (and somewhat my complexion) as a Mexican American, I have had to bear its challenges ever since childhood (shown by the clippings of my family photos). Being so caught between the two sometimes causes me to ask myself: what am I, then?
Not Available
Before and After
Before and After
Digital photography, Adobe Lightroom and Photoshop
76x50.75 cm
The halves of the pomegranate directly contradict each other, much like the seemingly incompatible aspects of my identity (being Mexican, gay, Catholic). The left half is depleted of its juice, carved out, and empty- representing my lack of emotional strength and wellness when I would force myself to choose between these different pieces of my identity. However, as I began to unify and embrace them in tandem, I began to feel more like the right half- full of vitality, sweetness, and rich color.
Not Available
Reconciliation
Reconciliation
Digital Photography, Pixlr E Photo Editor
40.5x50.75 cm
The Bible is a rather ambiguous document and there has been growing debate over whether homosexuality is the actual and explicit cause of Sodom’s destruction. This possibility that homosexuality might not be as grave a sin, if at all, as the Catholic Church insists has allowed me to reconcile my sexuality and religious affiliation. In the photo, I show this enlightenment through the light illuminating the image of Jesus and piercing the darkness surrounding the passage of Sodom’s destruction.
Not Available
Libertad
Libertad
Acrylic on Glass, Gel Medium, Golden Frame
40.5x50.75 cm
Machismo and toxic masculinity still run heavily in Mexican culture, so for most of my life, I limited my self-expression in fear of not being “man enough” for the Mexicans around me. Over time, however, I have come to realize that my “feminine tendencies” do not invalidate my cultural nor male identity. The peacock thus flies proudly with the Mexican flag, also symbolizing this liberating realization as its lavish tail turns the association of elegance and beauty with femininity on its head.
Not Available
Mestizaje
Mestizaje
Digital photography, Adobe Lightroom and Photoshop
50.75x30.5 cm
As a Mexican, I am also Mestizo, meaning I have a mixed Spanish and Indigenous ancestry. In Mexican folk dance, a great passion of mine, I noticed that many dances combine elements from both racial backgrounds. In this photo, Indigenous, Spanish, and Mestizo dancers are represented by their dance attire and their corresponding section of the border around the photo. All three dancers step on the same tarima (a wooden surface for dancing), showing a unity that I am actually proud of.
Not Available
Contact the artist at arturo.ballesteros.2002@gmail.com
Page updated
Report abuse