The following text was taken from Front Magazine, vol. IV, no. 3, p. 10, January/February, 1993:
“Welcome to the dark, hopeless world of Ricardo Estanislao Zulueta, which, in its very darkness and hopelessness, sheds light into the future. His photo performances arise from a subconscious/subterranean view of sexual politics that ultimately resists the omnipresent “master narrative” through both image and process. Zulueta and his accomplices sneak into public places – schools, toilets, subways, stores, furnace rooms – disrobe to enact their chilling communal narratives, and sneak back out. (He has been caught twice but not arrested.) He was doing this before Madonna.” – Lucy R. Lippard, Up From Under, 1992
The selection of photo-performance as a method of work is a result of the impact of the bombardment of media and mass communication on my life. The photograph (final object) reflects the rapid processing of information in coded tangible image. The still of the performance represents a documented concept therefore, the image’s content and its ability to make us think about contemporary universal issues is the central focus of my work.
My work is not so much about differences among people as about empathizing and understanding the shared concerns that transcend customs and origin. Although the performance stills of nudes in public places (Humane Society series) have been described as “jarring” or “disturbing” as images, they represent hope through awareness of social and humanitarian issues which demystify our common denominator is of fear in society today. – Ricardo Zulueta, 1992