Los pollos (Chickens), Juchitánغراسييلا إيتوربيدي · 1979

Identification of Los pollos (Chickens), Juchitán

Los pollos (Chickens), Juchitán is a photograph by Graciela Iturbide, captured in 1979. The image originates from Juchitán de Zaragoza, Oaxaca, Mexico, within a community belonging to the Zapotec culture.

The work documents a woman walking away from the viewer, carrying bundles of chickens on her head. This scene reflects the daily realities and traditional livelihoods of rural Oaxacan life. It captures a specific moment of labor and movement in a region characterized by its independent spirit and distinct social structures.

Composition and Visual Elements

The composition is structured around a strong vertical axis, established by a woman walking away from the camera in the foreground. She is dressed in traditional attire, consisting of a patterned skirt and a blouse featuring a lace collar. Atop her head, she carries a bundle of items, including chickens, which emphasizes her purposeful movement through the landscape.

A stark interplay exists between the human figure and the background. The backdrop is defined by vertical streaks of liquid or paint that resemble dripping ink or blood. These abstract elements create a sharp contrast against the woman's silhouette. The arrangement directs the eye upward, highlighting the weight of her load and the contours of her posture against the textured environment.

Technical Details and Artistic Medium

This black and white photograph utilizes the gelatin silver print technique. This method is characterized by its tonal richness and subtle gradations. Such technical precision allows for a precise rendering of light and shadow across the subject's form.

The resulting image possesses an almost sculptural quality. The interplay of light defines the contours of the figure and the textures of the clothing and the load. The composition emphasizes a vertical axis, creating a rhythmic visual movement through the frame.

Related Works by Graciela Iturbide

Iturbide’s exploration of Zapotec culture and the lives of women in Oaxaca is further reflected in her 1979 work, Nuestra Señora de las Iguanas (Our Lady of the Iguanas), Juchitán. This piece, alongside Los pollos (Chickens), Juchitán, captures the specific social and cultural dynamics of the region. Her documentation of indigenous communities also includes the photograph Photographer, Chiapas.

Beyond her studies of rural and indigenous life, the artist has examined private and symbolic spaces. This is seen in El baño de Frida (Frida’s Bathroom), Coyoacán, which offers a view into a personal sanctuary. Her photographic record of Mexico also contains Inmaculada (Immaculate Girl), Xochimilco.