The Caribbean region has not been delved into good enough. Even though the islands have witnessed the hackneyed concept of the meeting of two cultures, it’s importance to notice that regardless of tremendously growing interest in artistic and symbolic creation, only a handful of research studies have tackled the problem from a global perspective.

Assessments focus on artistic and social processes, yet they vary depending on the origin of the country. The peculiar outlay of their lands turned the spacious Caribbean into a meeting ground, a source of cultural transmission and exchange.

At the same time, the history of Caribbean arts –yet to be written- must be construed as fragmentary and heterogeneous, given the assorted and complex symbolism of its realities. In the same breath, photography hasn’t played so much of a role in portraying the works of so many Caribbean-born artists as part of what is known as the History of Universal Photography –thus laying bare stark ignorance of its potentials.

In spite of the fact that at the onset photography quenched the artistic craving of countless walks of life in the whole wide world –given its documental capabilities- it also served the purposes of actions or situations that rendered invisible for the arts. Death, physical handicaps, judicial processes and scandals took the lead in press photography since its dawn in the late 19th century. If we steal a long look at the photographic works of the 20th century we could see that the ruling ideal of beauty in the arts –based on Western canons- has been put through its paces time and again by its creators in an effort to stretch out artistic creation beyond its boundaries.

In the Caribbean, especially on the island of Puerto Rico, photography has a longstanding tradition that has been poorly recognized, though the documental aspect has gone strong. Some contemporary Puerto Rican photographers, imbued in the nationalist spirit handed down by the avant-garde movement of the 1950s, have scoured traditions, religiousness and festivities with a somewhat intimate vision. In this particular group –despite some features of their own- we can pigeonhole the works of Hector Mendez Cartini and, more recently, Victor Vazquez.

Nonetheless, the snapshots of Sandra Reus revolutionized that concept back in the 1980s with her collection entitled Beauty in Bait. Her photography focuses on beauty pageants –commonplace events in this region- that represent the aspirations of scores of teenagers from all over the world. Sandra has carefully documented the “transformation” process of a girl into a woman, from innocence to makeup. Her camera reveals the uselessness of a beauty ideal these young girls cling to in a bid to be acclaimed as sex symbols, to win the much awaited social recognition. The gender perspective portrayed in this kind of photography is buttressed with pun words that question the vision of women as seen by macho societies in their double standard of both consumers and on-sale merchandise.

Unraveling the pose-striking fakery and the gawky garments these girls put on, let alone all the unnecessary tinsels and spangles the ceremonies are usually spruced up with, lead us to pause and think for a while about the need to review the imaginary foundations that shore up this concept. As you look at these pictures, you feel nonconformity with a photographer who blasts these excesses, who lashes out at derangement and shams as attitudes spun off by a concept that seeks personal realization in things that are so out of reach.