Oluwatimilehin Awopegba

Prof. Hussey

ENGL 21001

April 24th, 2023

Exploring Identity and Power in (The Right Protection)

Maria Magdalena Campos-Pons’ “Untitled (The Right Protection)” is a thought-provoking mixed media lithograph that has captivated audiences since its creation in 1996. It is a powerful work of art that consists of a large-scale photographic print depicting the artist’s body covered in a translucent protective material. The photographs depict a black woman with her hands outstretched and body adorned with eyes all over her body. The artist’s biography and cultural context, as well as the use of color and composition uncover the complex layers of meaning present in “Untitled (The Right Protection).” By using her own body as a vehicle for expression, Campos-Pons challenges the notion that the body is a neutral or objective object, and instead emphasizes the ways in which the body is deeply entwined with issues of identity and subjectivity.

As an afro-Cuban American artist, Campos-Pons’ heritage is an important part of her identity, and by using her own body in the artwork, she is able to explore the complex ways in which her personal experience is intertwined with broader issues of cultural identity and heritage. Her use of color, texture, and symbolism in the artwork also serves to highlight the body as a site of cultural meaning and significance, reflecting the ways in which cultural identity is inscribed on the physical form. By placing her own body at the center of the artwork, she is also able to express her own personal experiences and perspectives, while also connecting these experiences to larger cultural and historical narratives. 

To gain a deeper understanding of the themes and symbolism present in “Untitled (The Right Protection),” it is helpful to consider the artist’s biography and cultural context. Campos-Pons was born in Cuba in 1959 and grew up during the country’s socialist revolution. Her parents were both involved in the revolution, and Campos-Pons herself was a member of the Cuban Young Communist League. Campos-Pons moved to the United States in the 1980s and has since become a prominent contemporary artist. Her artwork often explores themes of identity, memory, and cultural heritage. Her upbringing in Cuba and subsequent move to the United States has given her a unique perspective on cultural exchange and hybridity. Her artwork often incorporates elements from both Cuban and American culture, as well as elements from other cultures around the world. For example, in Maria Magdalena Campos-Pons’ “Wedding Dress (Memory)” (1994). Campos-Pons incorporates a traditional Yoruba mask, which represents her Afro-Cuban heritage, along with a Western-style wedding dress, representing the influence of Western culture. By combining these different cultural elements, Campos-Pons is able to create a dialogue about the complexities of cultural identity and the ways in which different cultures intersect and influence one another.

One of the most striking aspects of “Untitled (The Right Protection)” is the artist’s use of color. The photograph depicts the woman standing in front of a series of brightly colored geometric patterns that seem to radiate energy and vitality. Campos-Pons use bold, contrasting colors like browns, beiges and green to create a sense of dynamism and motion within the work. This use of color is significant, as it suggests that the woman in the photograph is in a state of flux or transition, perhaps undergoing a spiritual transformation. The woman is positioned in the center of the frame, her body taking up the majority of the space. The geometric patterns behind her are reminiscent of African textile designs, which have long been associated with spirituality and ritual. This symbolism is significant, as it suggests that the woman in the photograph is engaged in a spiritual practice or ritual that is both personal and deeply rooted in her cultural identity.

To fully understand the significance of “Untitled (The Right Protection),” it is important to consider the larger cultural and historical moment in which it was created. In the mid-1990s, many artists were grappling with questions of identity, representation, and power, particularly in relation to race and gender. Campos-Pons’ work speaks directly to these concerns, positioning a black woman at the center of the frame and imbuing her with both vulnerability and power. By doing so, Campos-Pons challenges the dominant narratives that have historically silenced and marginalized Black women’s experiences and perspectives, and instead offers a powerful and multifaceted representation of Black womanhood. The positioning of the Black woman emphasizes the subject’s importance and centrality to the artwork. In contrast to the many historical representations of Black women that position them on the margins or as passive objects of the gaze, Campos-Pons’ placement of the Black woman at the center of the frame asserts her agency and subjectivity. The woman’s direct gaze also invites the viewer to engage with her as an individual with her own thoughts, feelings, and experiences, rather than as an anonymous or interchangeable figure.

Another key theme in “Untitled (The Right Protection)” is the body itself. The painting raises questions about the ways in which our physical selves are shaped by social and cultural forces. The translucent material covering the artist’s body can be seen as a metaphor for the ways in which our bodies are both protected and vulnerable. The artist’s pose, with her arms crossed over, also suggests a sense of defensiveness and vulnerability. It speaks to broader cultural and political issues related to immigration and displacement. Campos-Pons was born in Cuba and moved to the United States in the 1980s. Her painting explores the experience of being an immigrant and the ways in which cultural identity is shaped by displacement and migration. The translucent material covering the artist’s body can be seen as a metaphor for the barriers that immigrants face when trying to assimilate into a new culture.

Campos-Pons imbues both vulnerability and power, reflecting the complex realities of Black womanhood. The central figure, a woman with her back turned to the viewer, appears poised and strong. Her posture is upright, with her shoulders squared, which suggests a sense of power and self-assurance. However, her nakedness and the exposed vulnerability of her body, combined with the protective gestures of her hands, evoke a sense of precariousness and the need for protection. This duality of vulnerability and power reflects the lived experiences of many Black women, who must navigate systems of oppression and violence while also striving to assert their own agency and dignity.

Campos-Pons’ use of her own body in the drawing, this raises questions about the role of the body in shaping our sense of identity. The use of the body as a medium of artistic expression is not new, but Campos-Pons’ work stands out for its emphasis on the body as a site of both vulnerability and strength. The protective material that covers the artist’s body can be seen as a metaphor for the ways in which our physical selves are shaped by social and cultural forces. Through her use of color, composition, and symbolism, Campos-Pons creates a rich and layered representation of Black womanhood that speaks to the concerns of representation and empowerment. By positioning a Black woman at the center of the frame she challenges dominant narratives and offers a powerful alternative vision of Black womanhood that is complex, multifaceted, and deserving of respect and recognition.

Moreover, the artist’s decision to use her own body in the artwork raises questions about the relationship between identity and the body. The artist’s Cuban American heritage is an important part of her identity, and the use of her own body in the artwork suggests a connection between her personal experience and the broader issues of cultural identity and heritage that the Lithograph addresses. The relationship between identity and the body is complex and multifaceted and is a major theme in Maria Magdalena Campos-Pons’ artwork “Untitled (The Right Protection).” The artwork suggests that the body is not simply a physical object, but is deeply intertwined with issues of cultural identity, heritage, and personal experience. In Campos-Pons’ painting, her own body serves as a canvas and a site of exploration, as she uses her physical form to express her own personal experiences and cultural identity. Through her art, Campos-Pons seeks to challenge and subvert the stereotypes and expectations placed upon women, particularly women of color (WOC), and to assert her own sense of power and autonomy. These include the expectation that women should be submissive, passive, and obedient to male authority, in addition to facing gender-based discrimination, WOC have also been subjected to racialized stereotypes, such as the trope of the “exotic other” or the “angry black woman.” These stereotypes serve to further marginalize and disempower women of color, denying them the ability to assert their own sense of power and autonomy. Her work is a testament to the enduring legacy of women artists who have used their own bodies as a means of artistic expression and political resistance.  Through her artwork, Campos-Pons creates a space for herself and other artists of color to express their own perspectives and experiences, challenging the dominant cultural narratives that have historically silenced these voices.

In addition, Campos-Pons’ artwork is also influenced by the political climate of the time, particularly in relation to issues of race and social justice. Her artwork often reflects the struggles and resistance movements of people of color, both in the United States and around the world. For example, “Spoken Softly with Mama” from 1998 incorporates a traditional Yoruba mask, which is often associated with resistance and the struggle for liberation in Afro-Cuban culture. By including this symbol in her artwork, Campos-Pons is able to connect her personal experiences with broader historical and political struggles.

John Berger’s “Ways of Seeing” is a useful text for understanding the significance of Campos-Pons’ work. Berger argues that images are not neutral, but rather are imbued with cultural meaning and power. He suggests that images can be used to reinforce existing power structures or to subvert them, depending on how they are constructed and interpreted. Campos-Pons’ work is a powerful example of the latter, as it positions a black woman at the center of the frame and imbues her with both vulnerability and power.

Maria Magdalena Campos-Pons’ artwork has been the subject of much critical analysis and scholarly discussion. Other scholars have also written about the significance of Campos-Pons’ work. In her essay “Campos-Pons and the Female Self,” art historian Jacqueline Francis argues that Campos-Pons’ work is a powerful exploration of the female self, particularly in relation to questions of identity and power. According to Francis, by exploring these themes, Campos-Pons is able to challenge dominant cultural narratives about femininity and power, while also providing a space for underrepresented voices to be heard.

Similarly, art historian Anna Indych-López has written about the significance of Campos-Pons’ use of color, suggesting that it creates a sense of “vibrant energy” that is both spiritual and physical. Indych-López notes that in Campos-Pons’ work, color is often used to express emotional and psychological states, as well as to convey a sense of cultural identity and belonging. Indych-López argues that by using color in this way, Campos-Pons is able to create a powerful connection between the viewer and the artwork, while also challenging dominant cultural narratives about race and ethnicity.

Moreover, in her article “Mapping Memory: An Artistic Journey through the Transnational Caribbean,” art historian Patricia Mohammed discusses the significance of Campos-Pons’ work in relation to issues of diaspora and cultural memory. Mohammed argues that Campos-Pons’ artwork is deeply rooted in her experiences as a Cuban American artist, and that it reflects a complex interplay of cultural and historical influences. According to Mohammed, Campos-Pons’ use of mythological and spiritual motifs, as well as her exploration of themes of hybridity and displacement, are all powerful expressions of the diasporic experience.

In conclusion, Maria Magdalena Campos-Pons’ “Untitled (The Right Protection)” is a complex and challenging work of art that addresses a range of themes and issues, from questions of identity and the legacy of slavery and colonialism. By placing her own body at the center of the artwork, Campos-Pons was able to express her own experiences of cultural displacement and struggles to navigate the intersections of race, gender, and class while also connecting these experiences to others. By doing so, she creates a space for dialogue and reflection, and for exploring many pressing issues of our time such as the experiences of marginalized communities, the human relationship to nature and spirituality, and the impact of globalization and migration. Through her artwork, Campos-Pons provides a platform for discussion and reflection on these issues, inviting viewers to engage with complex and important topics.

Works Cited :

Berger, John. Ways of Seeing. BBC and Penguin, 1972.

Francis, Jacqueline. “Campos-Pons and the Female Self.” Nka: Journal of Contemporary African Art, no. 23, 2008, pp. 36-41.

Indych-López, Anna. “Maria Magdalena Campos-Pons: Vibrant Energy.” Sculpture, vol. 24, no. 1, 2005, pp. 50-55.

Mohammed, Patricia. “Mapping Memory: An Artistic Journey through the Transnational Caribbean.” Small Axe, vol. 10, no. 2, 2006, pp. 1-17.