The Unsung Immigrant Heroes of Everyday Life

Dulce Pinzón- Photographer raising awareness on social issues

Photography artist, Dulce Pinzón, is described by The Center for Photography at Woodstock, NY as a “Mexican artist living in the United States … [finding] … inspiration for her photography in feelings of nostalgia, questions of identity, and political and cultural frustrations” (Past Exhibition: Dulce Pinzón, 2007). At the Universidad de Las Americas in Puebla, Mexico, she studied Mass Media Communications, and then went on to Indiana University in Pennsylvania to study Photography. Finally, at twenty-one years old, Pinzón studied at The International Center of Photography in New York (Dulce Pinzón, n.d.). Since then, she has been part of multiple solo and group shows in the Americas, Europe, and Australia. She has also been published repeatedly in big newspapers and textbook/encyclopedia reprintings, and has received various international awards, grants, and honorific mentions. 

As will be talked about further down, The real story of the Superheroes is a project Pinzón decided to pursue in 2004 to 2005. It was in response to the events of 9/11 when the “notion of hero” started becoming widely used to acknowledge first responders. Pinzón created a series of nineteen color photographs in which the subjects are Mexican immigrants living and working in New York City. They are all clothed as popular American and Mexican superhero costumes as part of the photographic staging. The goal is to showcase “heroes who sacrifice immeasurable life and labor in their day-to-day lives for the good of others, but who do so in a somewhat less spectacular setting” (Past Exhibition: Dulce Pinzón, 2007). The fifteenth photograph, titled “Spiderman,” is of Bernabe Mendez who “works as a professional window cleaner in New York” (Pinzón). He is a family man working alone in America in order to send 500 dollars a month home to his State of Guerrero. For the photographs, Pinzón tries as much as she can to correlate the individual’s job to the superhero. Therefore, as a window cleaner, Mendez is clothed as Spiderman due to both their abilities to scale buildings.

Visual analysis of "Spiderman"

The perspective of the photograph is at Mendez's level. He is positioned outside on a windowsill very high up on a building. This is a somewhat unusual angle for the viewer, but for the worker, it is mundane as he does this everyday as part of his work. As ordinary as it may feel to Mendez, this point of view shines a bright light on him because this line of work is not typical and can even be scary for many people. The building he is on is sseen from the side profile and on the right side of the photograph. This allows the rest of the image to depict buildings and the horizon which create depth and highlights the altitude at which Mendez works.The angle reveals the height and difficulty of his job making it an impressive and respectable one. 

Using the New York City landscape to her advantage, Pinzón allows her photograph to be filled with straight lines from the architecture style. Mainly on the left side of the photograph, the background is composed of lines from building walls, windows, constructions, cranes and rooftops. Having one type of line is visually appealing, and furthermore, having straight lines offers strong three-dimensionality and creates an active edge indicating tension. In addition, the lines are all going in different directions suggesting the chaos and disorder in the city after the events of September 11th. 

Research on "Spiderman" and The real story of the Superheroes

Pinzón’s choice to emphasize Mendez, the subject, is depicted in his vibrantly colored costume to affirm his heroicness. As all heroes do, the Mexican immigrants pictured in Pinzón’s series have “prosocial and selfless” missions not intended to further benefit themselves (Bayly). Mendez chooses to sacrifice money, time with family, vacation and so much more to improve his family’s living and social conditions in Mexico. 

Although the caption underneath explains the subject’s situation as an individual, the photograph alone expertly transmits the message of heroism to the audience. The usage of a traditional American superhero visually explains how Pinzón wishes to represent the subject. The costume is an “iconic representation of identity” and “corresponds to the requirements of their work environment: window washer becomes Spiderman” (Bayly). Pinzón is clear in her usage of comic book superheroes “to invest her subjects with visually recognizable traits of heroism” that are [inter]nationally known (Bayly).  

The idea of national heroes had been used mainly to describe war heroes during the 20th century. After the events of September 11th, it started becoming widely used in acknowledgment of the first responders who came from all over the United States to aid New York City’s residents. Since then, national heroes have been pointed out here and there after engaging in actions that show their “extraordinary courage or determination in the face of danger” (Past Exhibition: Dulce Pinzón, 2007). As much as these individuals deserve the credit they receive, their actions are often similar in the sense that they save an individual or group of lives. This enforces the idea that someone must save at least one life and possibly risk their own, in order to be considered a hero. 

In response to this strict categorization of national heroes, Pinzón decided to create a series of photographs depicting members of her own community who are heroes in their day-to-day work. “The Mexican immigrant worker in New York City is a perfect example of the hero who has gone unnoticed” and yet who sacrifices just as much, if not more, for their family’s survival in this increasingly expensive world (Past Exhibition: Dulce Pinzón, 2007). The real story of the Superheroes is a project Pinzón decided to pursue to counter this unequal and somewhat segregated “cultural climate,”by bringing “awareness to [these] other, often invisible, heroes of American society - hardworking immigrants” (Horsting).

In New York, these workers are generally Mexican and work “extraordinary hours in extreme conditions for very low wages,” much of which they are sending “to their families and communities in Mexico who rely on their heroism to survive” (Past Exhibition: Dulce Pinzón, 2007). The Troconi Letayf & Campbell Gallery depict The real story of the Superheroes as “an extraordinary documentary work on the adverse conditions of the brave Mexican migrant workers in the United States, where long working hours and a personal and family sacrifice define a complex social dynamic” (Troconi Letayf & Campbell, 2017). 

This picture reminds me to acknowledge, celebrate and honor all of the workers who must sacrifice long hours, often risking their lives, for very low wages. More generally, it demonstrates the variety of sacrifices people make for their jobs and hard earned money. The staging and costumes expertly demonstrate the selflessness and benevolence of these workers. It does so without ridiculing the hardships included, making their work childlike, or undermining their motivations. 

Having the primary colors dominate the color range and saturating them is visually appealing and creates a comfortable aesthetic allowing the eyes to rest. Although there is still a pop of color, the worker’s costume, it is not aggressive to the eyes, but actually further that comfortable aesthetic in being a core and influencing character from the childhood of many. 

I believe the angle of the camera and Mendez’s pose are crucial to the photograph’s message. The perspective gives way to the city’s landscape from a bit of a bird’s eye view, revealing the height Mendez works at. It reminds the audience of the dangers of Mendez’s work. And therefore, although the pose is relaxed and he knows what he’s doing, he is still a hero. He is risking his life, but most importantly, he is working long hours, sometimes in adverse climate conditions, for low pay. He comes home to an empty apartment in order to send the majority of his earnings to his family back home in Mexico. For this, Pinzón believes he is heroic and I believe she does a skillful job of visually depicting that through the angle and pose.  

All in all, Pinzón clearly wishes to communicate her admiration for her community’s workers who sacrifice on a daily basis. Through The real story of the Superheroes, she raises awareness on their hard work, dedication and selflessness. Additionally, the captions under each photograph evoke the injustice of their low pay in regards to the professional, social, personal, and familial sacrifices they make everyday. 

Comparative Analysis of "Spiderman" and "Naomi"

At the Fresa Salvaje parties, Pinzón met Latinx "people who were more integrated into the New York scene" as compared to the Latinx immigrants photographed in The real story of the Superheroes (Foster).  For the promotion of these receptions, Pinzón and her team "photographed divas, rock stars, partygoers, drama queens and artists... all of them Latino" (Foster). This is when the project People I Like really began and Pinzón photographed "people that fascinated [her]" (Foster). 

Pinzón's two series, The real story of the Superheroes and People I Like, both document Latinx people in a staged scene while still implementing realistic elements from the subjects' individual lives, personalities, and occupations. In the series, there are two photographs, "Spiderman" and "Naomi" respectively. The first is of Bernabe Mendez in 2004 on a New York City building and the second is of a friend, Naomi, in 2008 after meeting her at a Fresa Salvaje party. These two pictures have a couple visible differences, the background and the poses, but overall, they are quite similar, especially their matching color range and representation of the subject.   

Firstly, "Spiderman" and "Naomi" differ in their background and staged poses. Pinzón uses the New York City landscape to produce a chaotic backdrop for "Spiderman". The disarray of lines and variety of colors (all primary) cause a subtle, but clearly disorganized backdrop behind Mendez. There is an undeniable need for this background to materialize the height at which Mendez works at,  but it is a significant difference compared to the one in "Naomi" which is virtually all black. There are some smoky blotches of greenish or blueish tints behind her crown and around the boat, respectively. This type of uniform backdrop emphasizes the central subject, here being Naomi aka the Virgin Mary.

The other main difference is the pose Pinzón has them hold as part of the staging for the photo. Mendez poses as he would during a day on the job as a professional window cleaner. It almost seems like a fast shutter picture producing an still version of Mendez at work. The position is so realistic, the only reason the audience is sure of it being a staged candid photograph is his costume. On the other hand, Naomi's pose makes it clear to the public that the photo is staged, regardless of her clothing. She is standing straight holding a baby and globe and looking straight in the camera. She is not making as if she is doing something else other than posing for the camera. 

All in all, these two photographs have a lot in common, principally Pinzón's decision to compose them using the primary colors (red, blue, and yellow). This is telling of her desire to be absent of complications and distractions. The sole use of these colors can be interpreted as indicating purity and sophistication since they are the source of all other colors and do not necessitate mixture of colors for their own creation. Although Naomi is mainly in white, she is also depicted in blue and red like Mendez in his superman costume. Her cape and crown also hint at some yellow hues in a background way meaning they are visible, but don't divert from the central subject. This reminds the audience of the soft yellow in "Spiderman" that gives the photograph color without disturbing the viewer of Mendez.  

Finally, there is a powerful similarity in how Pinzón portrays Mendez and Naomi. As part of the staging, they are dressed up, each in a costume that are known to symbolize sacrifice, benevolence, and goodness. Spiderman is an individual who sacrifices time and energy, often risking his life, to protect citizens from the antagonists and save cities from disaster. Pinzón chooses this costume for Mendez due to his abilities to scale walls, (he's a professional window washer) but also because he himself makes sacrifices daily. His job puts him in adverse climate conditions at high altitudes for extremely long hours and non adequate pay. As a representation of fatherhood, he does all this to be able to put forth a higher amount of money, and therefore opportunities and better living conditions, for his family living in Mexico. Likewise, Pinzón clothes Naomi in a Virgin Mary costume and crown, even using a really baby to imitate Jesus. In the Bible, Mary has a role related to sacrifice. She "endures the danger and difficulty created by her son's prophetic and messianic mission and endures as well the conflicts and various forms of bloodshed, both symbolic and real, that this mission creates" (Kearns). This is a representation of motherhood, holding the Earth as Mother Nature and holding the baby as the symbol for the future and continuity. The individuals in the boat at the bottom gaze at her in admiration of women's daily sacrifices to the world and their children simultaneously.

These distinct, clear similarities in color usage and portrayal in "Spiderman" and "Naomi" proves Pinzón's wish to portray her fellow Latinx community members in a bright light. She displays their capabilities, influence, and strength by exposing their daily sacrifices, heroism, and humanity. Both of her series, The real story of the Superheroes and People I Like, raises awareness for these Latinx individuals and celebrates them. 

Works Cited:

Bayly, H. J. (2013). Professional Wrestling and Contemporary Photography: The Case of Dulce Pinzón’s The real story of the Superheroes. Revue de Recherche en Civilisation Américaine. https://journals.openedition.org/rrca/527.

Dulce Pinzón. (n.d.). Www.dulcepinzon.com. https://www.dulcepinzon.com/

Foster, A. (2020, August 22). Dulce Pinzón: Practical Magic. ~ Talking Pictures ~. https://talking-pictures.net.au/2020/08/22/dulce-pinzon-practical-magic/.

Herrera, J. (2008, January 23). The secret lives of superheroes. San Antonio Current; San Antonio Current. https://www.sacurrent.com/sanantonio/the-secret-lives-of-superheroes/Content?oid=2282258.

Horsting, C. (2016). Dulce Pinzón, “The real story of the Superheroes,” 2004–2005 [Review of Dulce Pinzón, “The real story of the Superheroes,” 2004–2005, by D. Pinzón]. Contemporary Art Purchasing Program. http://contemporaryartumd.artinterp.org/omeka/dulce-pinzn-the-real-story-of-the-superheroes-20042005.

Kearns, C. M. (2008, April 28). Book Summary : The Virgin Mary, Monotheism and Sacrifice. Cambridge University Press; Cambridge University Press. https://www.cambridge.org/core/books/abs/virgin-mary-monotheism-and-sacrifice/marian-sacrifice/21CB48FA842DC1BBC228635D2B56CEAF.

Past Exhibition: Dulce Pinzón. (2007). Www.cpw.org; The Center for Photography at Woodstock. https://www.cpw.org/past-exhibitions/dulce-pinzon/.

Troconi Letayf & Campbell. (2017). The real story of the Superheroes [Review of The real story of the Superheroes, by D. Pinzón]. https://www.artsy.net/artwork/dulce-pinzon-the-real-story-of-the-superheroes. 

Photo Credits:

1. Pinzón, Dulce. (2008). Naomi [Photograph]. https://dulcepinzon.com/img/People_I_Like/013_Naomi.jpg  

2. Pinzón, Dulce. (2004). Spiderman [Photograph]. http://dulcepinzon.com/img/Superheroes/015Spiderman3.jpg.