Post 5 - Samantha Castro

“The moment' that I think I have it locked down is the moment in which it flips; you can't talk about the pros without talking about the cons. You can't talk about the "positives" without talking about the "negatives." And you can't talk about the truths without talking about the untruths.”

    Carrie Mae Weems’s quote speaks to the complexities of identity, history, and truth, emphasizing that no narrative is ever one dimensional. As artists and individuals, we navigate these layered realities by confronting both the positives and negatives, acknowledging that our histories, cultures, and personal identities are shaped by contradictions, struggles, and shifting perspectives. This critical thought process is essential in creating meaningful and layered artwork. For artists engaging with personal and cultural identity, this means embracing the full spectrum of their experiences. When exploring themes of displacement, colonial histories, or cultural preservation, one cannot only focus on pride and resilience without also addressing loss and marginalization. Similarly, personal identity is never static or absolute. It is shaped by both personal agency and external forces. As I explore my own heritage in my art, I realize how important it is to embrace both the beauty and the struggles that come with it. Weems’ work does this so well, layering personal and historical narratives to create something deeply reflective. That kind of critical thinking is what makes art powerful it challenges us to hold multiple truths at once.

“The assumption that our ability as artists is restricted to our only being able to deal meaningfully with the question of race and rage overdetermines critical perception.”

    This assumption is something I think about often. As a Puerto Rican artist, I feel the weight of expectation of how work about identity is often framed through struggle, displacement, and colonialism. These themes are undeniably part of my story, but they are not the whole story. My work isn’t just about hardship; it’s about joy, memory, beauty, connection, and the quieter, more personal moments of identity. I don’t want my art to be seen only as resistance. I want it to be seen as full, layered, and alive. Identity is always political, but it is also deeply personal, and art should be allowed to hold both at once in all its complexity.

This interview resonates with my work, especially in how it connects identity, cultural displacement, and everyday objects. I focus on my art to be rooted in my lived experience as a Puerto Rican woman, blending the personal and political to create spaces for shared stories and visibility.

https://youtu.be/cYmf9nQIKj0?feature=shared

 GO TO AN ART EXHIBITION:

Untitled, Lee Bontecou, 1961
This piece I feel affected me the most as it looks and felt like something scary as if it was going to suck you up to the abyss. It was made from welded steel, canvas, fabric, rawhide, copper wire, and soot.

I went to the MOMA for a field trip. It was an enjoyable experience as it was my first time going there. Though I might not have understood all the artworks there, it was eye-opening seeing all these different types of artworks, and seeing well-known pieces like The Starry Night in real life was kind of a wake-up call to go out more to see more artworks in person. Something I'm looking forward to in the future.