A Journey Through Light, Gender, and Memory

Poblado Park weaves a narrative of visual dialogues, capturing the essence of individuals who found solace and community in a bustling nocturnal space in Medellin, Colombia, from 2009 to 2011. This photographic series endeavors not merely to document but to explore the rich tapestry of identities, experiences, and expressions encapsulated within each portrait.

Navigating through the realms of identity and belonging, this work reflects a personal pilgrimage. As a Latin-American subjected to the persistent sting of discrimination in the United States since the 1980s, I found myself propelled toward a journey of re-exploration and reconnection with my Colombian roots—a narrative obscured by my exposure to American media stereotypes and my own displaced histories.

In every photography series I undertake, I adhere to a foundational principle: capturing portraits of individuals within a singular, specific site. This methodological approach gives life to what I term a "visual ethnography." It not only paints a vivid picture of those who inhabit and frequent a given locale but also subtly underscores those who are conspicuously absent or have diminished access. In the context of Poblado Park, from a curation of 25 portraits distilled from a broader collection, the ethnic mosaic becomes evident. Only one man unmistakably bears African lineage, and just one woman presents distinctly indigenous features. This is striking, given Colombia's rich tapestry of indigenous communities and populations tracing back to African ancestry. Yet, the majority of the series unveils a potent ethnic amalgamation, intertwining European histories with the indigenous essence native to this land. Colombia's diverse human tableau, shaped significantly by vast Indigenous populations and descendants of African slaves, is vast and varied. However, the series inadvertently throws a spotlight on the underlying socio-cultural and ethnic dynamics at play, revealing who gets to occupy spaces like Poblado Park — and more poignantly, who doesn't. The absence speaks volumes.

The series unconsciously evolved to encompass a tender exploration of non-heterosexual identities, juxtaposing my adolescent memories of stark LGBTQ+ adversity in Colombia against a contemporary semblance of uneasy social tolerance. These portraits attempt to traverse the nuanced interplay between visual representation and perceived sexual orientation, provoking a pivotal inquiry: Can a portrait ever authentically unveil an individual’s sexual identity? This begets further introspection: Why should such revelation be important? And, if so, in what context? My quest unearthed entrenched layers of cultural and gender-based repression and personal concealment, leading to an eye-opening understanding of how deeply rooted stereotypes perpetually steer collective-heterosexual perspectives and actions, often to the detriment of LGBTQ+ communities. Central to these insights is recognizing the extensive sway of my own socially- and culturally-constructed biases as a heterosexual man—especially how they shape my cosmologies and interactions and the agency I afford to my LGBTQ+ kinspeople in both personal and public spheres. Engaging with these visual narratives has spotlighted my preconceptions, marking a blurred yet proactive step toward disentangling them from my psyche. Perhaps it's an initial move towards recalibrating my personal narrative and actions in favor of a more inclusive approach towards our LGBTQ+ communities.

Inspired by a quest for authenticity and veracity, Poblado Park commits to immortalizing its subjects as they appeared and as they aspired to be seen—unembellished, unaltered, and unequivocally themselves. In eschewing studio lighting of any sort, make-up, or auxiliary assistance, and minimizing direction, the sessions blossomed into sparse yet intimate encounters. The individual, myself, a camera, and a tripod, enveloped in 10 to 15-minute vignettes of vulnerability and candidness, under the unassuming glow of available street light.

This series, while initially sparked as a technical exercise influenced by the poignant impact of a photograph by Edward S. Curtis of an Indigenous person native to this continent observed in a Sedona, AZ gallery, evolved into a deeply personal and explorative project. It stands as a testament to the unspoken narratives, concealed identities, and the perpetually complex exploration of self and otherness amidst the ephemeral glow of Poblado Park’s nocturnal embrace.

EDITIONS
For those new to art collecting, "editions" refer to the limited number of prints produced from a single original artwork. Editions protect the exclusivity and value of each print, making it essential for collectors to understand the difference between rare and limited editions.

Under the ARTWORKS menu, I am committed to offering rare editions to guarantee exclusivity and high value for collectors. Each artwork in these collections is produced in extremely limited quantities, with only 3 prints available for larger sizes and 5 for smaller sizes. Some series are even more exclusive, offered in only one size with an edition of 3.

Under the EVOKE menu, my series will feature limited editions with up to five size options. Editions for these artworks range from 27 prints for smaller sizes to 5 for larger ones, ensuring scarcity while offering more accessibility for collectors.

RARE EDITION
A rare edition is more exclusive than a limited edition, signifying extreme scarcity with very few prints available.

Typical Range: Rare editions under the ARTWORKS menu typically include fewer than five prints, sometimes as few as three.
Value: Due to their extreme rarity, these prints are highly valuable and sought after by collectors.
Numbering: Rare editions are numbered and signed by the artist.

LIMITED EDITION
A limited edition refers to a fixed number of prints produced from a single image. Once this number is reached, no further prints are made, preserving their scarcity.

Typical Range: Under the EVOKE menu, limited editions range from 27 prints for smaller sizes to 5 for larger sizes.
Value: Limited edition prints are more accessible than rare editions, yet still maintain exclusivity.
Numbering: Each limited edition print is numbered and signed by the artist.

EXCLUSIVITY
Each series consists of a maximum of 18 to 27 artworks. Once an edition for an artwork is sold out, no more prints will be available. Once all editions in a series are sold out, the entire series will be considered sold out, ensuring the exclusivity and enduring value of each piece and series as a whole.

In summary, while both limited and rare editions indicate a finite number of prints, rare editions under the ARTWORKS menu are more exclusive and scarce, while limited editions under the EVOKE menu offer more accessibility. This distinction is crucial for collectors and galleries as it directly influences the market value and desirability of the prints.

Framing, as displayed under each artwork, includes wood with acid-free mat and archival materials, along with clear acrylic featuring superior UV protection. Your framed artwork ships with installation hardware, and it arrives ready to hang. Unframed prints will be shipped in a tube. Additional framing options are easily available - please email me at marco@ma9.co for more information.

Enjoy free shipping on all orders placed within the continental U.S., Hawaii, and Alaska.

International Shipping: International shipping is available at an additional cost. For more information, please email me at marco@ma9.co.

Processing & Shipping Time: All orders take approximately 10 to 15 business days to print, mount, frame, and prepare for shipping. Once shipped, delivery via UPS Ground typically takes an additional 3 to 7 business days. The total time from order to delivery is approximately 13 to 22 business days.

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For any questions or assistance, including reporting damages or issues, please reach out to us at marco@ma9.co. We are here to help and ensure you have a wonderful experience with our fine art photography.