Adal Maldonado - Photography

Photography

As have many other photographers of his generation - most notably Cindy Sherman, Robert Mapplethorpe, and Lucas Samaras - and due to his complex view of double identity, Adál has systematically explored identity issues to their ultimate consequences. From suggestive, “surreal” photographic collages in the early 1970s, to the ironic concreteness of his Auto-Portraits series, and, finally, to the creation of an ethereal, ubiquitous country where he and his Out of Focus Nuyoricans colleagues live, Adál has collapsed self-portraiture’s allegedly self-referential quality. Indeed, a great deal of his work’s satiric trademark arises from the constant mockery of the possibility of ever achieving an ultimate, definitive picture of one’s self.

By exposing the absurdity behind the search for ultimate reference to selfhood in art, Adál challenges the notion of literalness. His relentless punning on literal meanings has become the most privileged artistic principle in his work, and has enabled him to address perhaps the most slippery characteristic of his own biography: his double cultural allegiance as a Nuyorican. Through this mechanism, he has been able to successfully incorporate the potentially satiric quality of the Spanglish Language Sandwich and bilingual code-switching into his self-portraiture without making it strenuously conceptual and to tackle the scandals of the day with theatrical irony.

Most importantly, though, such exploration of the literal has allowed Adál to go against the grain in terms of self-portraiture by moving from self to type. If in his early series of photographs, like The Evidence of Things Not Seen..., the masterful use of the photo collage creates a disorienting effect that supposedly resembles his most intimate and individual mental landscapes, his new Out of Focus Nuyoricans series is an exercise in collective portraiture that literally takes these Nuyoricans’ “out of focus” cultural and political conditions and turns them into a guiding aesthetic principle. In the last few years, Adál has, once more, taken this principle to its limits by creating an imaginary world, El Spirit Republic of Puerto Rico, where he and his colleagues can live in an out-of- focus world.

Outside this imaginary territory, Adál works in the Passport Agency quietly issuing passports to anyone who wants to be an honorary citizen of El Spirit Republic. Neither demiurge, king, or president of his own imaginary territory, Adál merely works for his own creation like any other bureaucrat – his latest self refashioning. His first series of photographs, The Evidence of Things Not Seen... was published by Da Capo Press in 1975 and has become a collector’s item. Four more books have followed: Falling Eyelids: A Foto Novela, Foto Graphics Editions, 1980, Portraits of the Puerto Rican Experience I.P.R.U.S. – 1984, Mango Mambo Galeria Luiggi Marrozzinni/Instituto de Cultura Puertoriqueña, 1987, and most recently, Out of Focus Nuyoricans, published by the David Rockefeller Center for Latin American Studies at Harvard University, 2004.