Milagros de la Torre

UNDER THE BLACK SUN, 1991-1993

’Under the Black Sun’ examines the intersections of race, identity, and colonialism through a photographic technique used by Andean street photographers. The series was developed in two phases from 1991-1993. Both phases reference the rudimentary technique of street photographers in the Andean city of Cusco, Peru, whose expertise was to produce ID/passport photographs intended for bureaucratic procedures. In order to save on expenses, they took the photographs directly on photographic paper. Once developed, these photographs appeared in their negative, inverted stage.

The first phase of the project uses mercurochrome, a red disinfectant medicine for cuts and bruises, which street photographers would use to retouch the face on the paper negative. The harmless retouching worked as a filter which lightened the skin of the subject. Once printed, the subjects appeared whiter, instead of the brown skin tonalities of indigenous citizens. This technique conferred not only a ‘racial enhancement’, but a socio-economic, aesthetic and cultural enhancement as well, birthed from a belief of colonial origin that a person with fair skin tonalities possesses all these qualities intrinsically. These ideas are questioned as the photographic process is suspended in the negative stage, unresolved, with the red veil of applied medicine still covering the skin of the subject, as a proposal to a more layered counter-narrative of identity. By halting the process midway, the work critiques how photography has been used to manipulate Indigenous identity and reinforce colonial power structures.

The second phase of the project is centered on the 4 x 5 inch, full-frame, close-up portraits, in the inverted stage. These black and white negatives were also exposed directly in the camera with photographic paper. The portraits are presented in both 4 x 5 format and large format in the exhibition space. The use of large format emphasizes and gives importance to the distinct racial attributes of the subjects. This phase further researches the representations of indigenous facial features - a follow-up to discussing skin tonalities in the previous stage of the work.

The work denies the portraits any resolution as they have been stopped midway in the process - an analogy to the black and white, analog, photographic system. The interest of the series is to present a de-colonized image of ourselves and to propose an un-learning of hegemonic and colonial systems.

Works:

- Hand-painted toned gelatin silver prints, Mercurochrome. Variable dimensions.

- Toned gelatin silver prints. 4 x 5 inches. (10 x 12.5 cm.)

- Archival pigment prints. Large format.

UNTITLED (HANGER, STOCKINGS,…), 1992

Untitled (Hanger, Stockings,..) are works presented as unresolved, negative images - an analogy to the black and white, analog, photographic process. The images were exposed directly on photographic paper in a 4 x 5 camera. The narrow paper format, held by photo corners, presents the limited space the objects inhabit. The sequence evolves from an empty hanger to an obscured dress and concludes with a fleeting hand leaving the frame, which in itself becomes the subject matter. 

All works: Toned gelatin silver prints. 4 x 2 in. each approx. (10 x 5 cm. each)

THE LOST STEPS, 1996

The Lost Steps series is based on a nineteenth century photographic technical limitation, when the optical lens was unable to depict the image entirely. This technical limitation creates vignetting around the photographed object and it gives it a limited depth of field, directing the viewer’s attention to one single detail in focus. A concise text below each work, modeled after judicial language used by law enforcement, uncovers the object’s background.

The works include forensic evidence from criminal trials - terrorism, crimes of passion, cocaine production, etc. The objects shift their significance from seemingly innocent items to incriminatory testimonies.

The series was made in the Evidence archives of the Courthouse in Lima, Peru.

All works: Toned gelatin silver prints. 16 x 16 in. (40 x 40 cm.)

LEFT BLANK, 1998

Left Blank concentrates on the pages left blank in European census books of the late nineteenth and early twentieth century, when the great wave of immigration to the Americas took place. These pages remain an empty record of the names, addresses, and trades of citizens who had emigrated to America. The pages were left empty with the hope that the displaced individuals would return one day and rejoin the population’s demographic. The neither-nor state is reflected by the lack of registration - particular to the global immigrant experience.

The work is installed in an enclosed space, with two large-format photographs placed on white shelves along each wall.

Left Blank was made at the archive of the Museo dell’Emigrante in the Republic of San Marino.

All works: Matte C-type prints mounted on aluminum. 39.37 x 47.24 in. (100 x 120 cm.)

CENSORED, 2000

Censored was developed in the restricted section in the library of the University of Salamanca, Spain. The work examines books dating from the fifteenth to the seventeenth centuries - which were obscured and suppressed by the Spanish Inquisition.

The stark contrast between the beige of the handmade paper and the intense black of the censored passages implies a sense of aggression. From a distance and due to its large format, the works could be mistaken for gestural paintings, but a closer examination reveals the implicit violence against the texts.

The works stand as witnesses to the suppression of ideas by the powers of authority.

All works: Archival pigment prints mounted on aluminum. 39.37 x 47.24 in. (100 x 120 cm.)

ARMORED, 2000

Armored is a work of five interconnected images portraying armored vehicles in chronological order - from the 1970’s to the 2000’s. The vehicles were photographed referencing the classic three-quarter studio portrait. Their small format brings the viewer physically close.

The indexical nature of the work asks the audience to question the motivations behind their improvements.

All works: Archival pigment prints. 4 x 5 1/2 in. on 16 x 20 in. paper (10 x 14 cm. on 40 x 50 cm.)

NEWBORN, 2001

Newborn explores human vision shortly after birth. Following research, the first sights were translated photographically, considering angles of vision, focal distance, tonalities and contrasts within the capabilities of the newly born’s biological sight.

All works: Archival pigment prints on cotton paper. 13 x 21.7 in. on 19.7 x 27.6 in. paper (33 x 55 cm. on 50 x 70 cm.)

BLEUS, 2002

Bleus was a commissioned work for the artist book Troubles de la vue, published by Toluca Éditions (Paris) in 2003. The memory of the injury has been visually translated through the medium. The close-up, small format photographs are abstract in nature.

All works: C-type color prints. 4 3/4 x 4 3/4 in. (12 x 12 cm.)

FEARS, 2004

Fears is based on a survey conducted among Mexico City residents, addressing the question: What are you afraid of? - reflecting our inner dialogue.

The pieces are presented as rectangular monochromes of dark brown, which is the color we see when our eyes are closed. Their size resembles that of our peripheral vision. The answers of the survey are placed at the bottom of the monochrome - the text is almost imperceptible. As the viewer approaches, they can read the text and catch sight of their own reflection, thereby engaging with the fear on a personal level.

All works: 16 x 20 in. on 24 x 28 in. paper (40 x 50 cm. on 60 x 70 cm.)

DACTILARES, 2004

Biometric fingerprints; verification of criminal record for American residence.

Diptych. Archival pigment prints on matte paper, face mounted to 1/4 in. plexiglass and back mounted on aluminum

Each: Image 14 x 10 1/2 in. on 20 x 16 in. paper (Image: 35.5 x 26.5 cm. on 50 x 40 cm.)

EMBEDDED, 2007

The video fades in and out of 21 variations of arms-resistant garments worn by professionals on duty, including soldiers, police officers and government agents.

Single channel digital video, 2 min. 47 sec. Variable dimensions

BULLETPROOF, 2008

Bulletproof consists of seemingly innocent, unsuspecting everyday pieces of clothing. Suspended in vacant white spaces, depicted in high detail, these finely crafted garments conceal their real purpose: to protect the wearer from firearms attacks.

Emblematic of our times, characterized by increasing militarization, violence and lack of gun control, threat is implicit within the fashion statement. Not only used by politicians or the rich and famous, armored clothing is being widely adopted by ordinary citizens in nations plagued by crime or conflict across the globe.

Bulletproof includes eleven works depicting pieces of clothing designed for different styles, age groups, and genders. Each work is life-sized and printed on cotton paper with a similar texture to the fabrics used for their manufacture.

All works: Archival pigment prints on cotton paper, mounted on aluminum. 39.37 x 39.37 in. (100 x 100 cm.)

IMPRINT, 2010-2011

Imprint is a project that documents involuntary markings formed by dental pressure on the skin, which transform the skin into landscape.

All works: Archival pigment prints on matte paper, mounted on aluminum. 15 x 20 in. each (36 x 50 cm.)

SYSTEMS AND CONSTELLATIONS, 2013

Systems and Constellations explores the impact of biometric facial recognition systems and data-driven technologies on the construction of Indigenous identity. In this work, the faces of Indigenous youth are integrated into systems of surveillance and classification - tools that have historically perpetuated stereotypes, erasure, and objectification. The series examines how identity is increasingly shaped and controlled by technology, while assessing the ways in which these systems perpetuate colonial legacies. 

All works: Archival pigment prints. 20 x 16 in. (50 x 40 cm.)

COUNTERPLOTS - AND ELUSIVE MESSAGES, 2012-2014

Counterplots - And Elusive Messages explores language systems and examines encrypted messages or texts, specifically produced during times of unrest by the military or intelligence services. These texts are often used by governments or specialized agencies in Latin America when facing terrorism, organized crime, or drug cartels. What we read is not what is being transmitted.

The point of departure was found-confidential papers, written by the artist's father, who served in the Intelligence division in Peru. The elusive messages carry layers of meaning, power and strategy beyond the boundaries of everyday language - only unveiled with the correct protocol.
Printed on Bulky paper, a budget-friendly material commonly used by the governmental bureaucracy in Peru, much like newsprint paper. 

All texts: printed on Bulky paper, 14.1 x 10.2 in. (35.25 x 25.5 cm.)

All images: Archival pigment prints on Bulky paper. Variable dimensions

AN INVENTORY - OF ONE, 1989 - ongoing

An Inventory - of One delves into the significance of identity documents (IDs), exploring their mandates, guidelines, and their role in regulating individual identity. Spanning a 30-year journey across various times and geographies, the project serves as both commentary and critique, shedding light on how institutions categorize individuals. Employing archival cataloguing methodologies typically associated with museums and scientific research.

All works: Archival pigment prints on high gloss color paper. Variable dimensions.

DIARY OF A CURE FOR THE EVIL EYE, 2018

Diary of a Cure for the Evil Eye explores the ancient concept of the ‘Evil Eye’ recognized globally and spanning 3,000 years across Mesopotamia, Greece and Rome. Referenced in various religions such as Judaism, Islam, Hinduism, Buddhism and Christianity, the ‘evil eye’ is believed to manifest a harmful stare or glance, often driven by envy, capable of causing misfortune and illness.

In Latin America, specifically in Peru, the cure for this condition is practiced as traditional Andean medicine. The cure involves sweeping a raw chicken egg over the body of the victim to absorb the evil eye and later broken into a glass of water. The shape of the yolk and the patterns of the egg whites are interpreted to diagnose the source of the affliction.

The artist followed the traditional procedure for four weeks, observing, making notes and photographing the process, as in a diary. Through consultations with curanderos and shamans, the results were examined. Shapes seen in the egg whites are believed to reveal the source of the ‘evil eye’.

De la Torre references the Rorschach Test known for its inkblot images, and presents the ‘Diary’ works in the same format. Drawing a parallel, the artist connects the shapes formed by the egg whites to the Rorschach interpretation. Mounted on plexiglass, the thickness magnifies the images, reinforcing the idea of analysis and medical diagnosis.

Diary of a Cure for the Evil Eye: Archival pigment print, face mounted to one-inch thick plexiglass and back mounted to aluminum. 17 x 66 in. (42 x 165 cm.)

Diary (after Rorschach): Archival pigment print, face mounted to one-inch thick plexiglass and back mounted to aluminum. 16 x 16 in. (40 x 40 cm.)

INTERVALS, 2020-2021

Intervals proposes historical parallels, from 19th century theories based on physiognomy and anthropometry to modern-day biometric systems developed for facial recognition. These configurations have been used since the antiquity by the state, surveillance industries, corporations, and now social media platforms. 

Intervals was commissioned by and exhibited at Artpace, International Artists-in-Residence Program, San Antonio.

Intervals. An Account of Face-Mapping. 2020

Single-channel digital HD video, sound.

Research Assistant: Iracema Alvarez
Original Score: Nadia Botello
Editing: Bauhaus Media Group, Inc.

RECOLLECTION, 2021

Recollection is an installation exploring the interaction between the audience and the convex mirrors, typically employed in surveillance monitoring. On the mirrors’ surfaces, specific constellations’ patterns have been etched, echoing lines and points utilized in facial recognition technology. Through deliberate positioning, viewers can witness these diagrams reflected onto their faces. This encounter with the work alludes to the experience of surveillance in daily life. 

Recollection was commissioned by Artpace, Texas. 

CAMERA OBSCURED, 2024

Camera Obscured examines the role of institutional archives in acknowledging the intricacies of Indigenous identity. The series features photographs of ‘gloved hands’ holding glass negatives, where the subjects remain obscured by the very systems intended to document them.

These image systems both register and overshadow the complexities of Indigenous existence, at times, simplifying or distorting the historical, cultural and social contexts that define it.