El Tetas

El Tetas is a photographic essay where I delve, from my perspective, into the life of my maternal grandfather; from the theme of repentance, pain, care and reconciliation that he finds in his final stage of life as well as in his death.

EL TETAS

"I was the one who nicknamed my husband cuatro tetas, because he had another woman, and that's why I gave him four, since the mistress had two and I had two, that made four tits…" — Rosa Suclupe Bances

El Tetas is a visual project where I delve into the past, the final stage of life, and subsequent death of my maternal grandfather.

I use the deteriorated family archive in combination with photographs of my own authorship, with the aim of highlighting the psyche of a wounded memory and the damage to my family caused by alcoholism, abuse, and abandonment by my grandfather.

The narrative I attempt to construct begins when I recall the past of my grandfather's relationship with my family, combining the photographs I have taken with the family photographic archive. Through these images, I attempt to recreate a memory of the sensations of violence and abandonment that my grandfather inflicted upon his children and wife. Toward the end, after his death, through photographic records and my family's writings, I express the remorse and search for forgiveness that José Prado, my grandfather, felt toward his children and wife.

This visual journey through my family nucleus constructs a tribute to my grandfather. El Tetas is a portrait of multiple facets in which I rediscover who José Antonio Prado was, who "Papá Cuatro Tetas" was.

Photobook concept:

https://vimeo.com/1091517324/df806e6718?share=copy

This project is a candidate for PhMuseum 2026 Photography Grant

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© Joel Luna Prado - Image from the El Tetas photography project
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A portrait of my grandfather, José Antonio Prado Ruiz, nicknamed “Cuatro tetas” by his wife, Rosa Sclupe Bances, due to an infidelity she discovered on her own, alleging that he had “four breasts” of his property. This nickname was well known by his children and grandchildren, who called him “Papa cuatro tetas”

© Joel Luna Prado - Image from the El Tetas photography project
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Diptych: combining image and text. On the left, a letter from my grandmother Rosa, wife of "papa cuatro tetas," recounting the origin of the nickname and the abuse she endured. On the right, a damaged and cropped photograph where a masculine hand holds my grandmother. Together, they visualize the wound of her past. Lambayeque, Peru, 2025

© Joel Luna Prado - Image from the El Tetas photography project
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Family archive damaged due to neglected photographic maintenance, showing the fifteenth birthday of Sinthia, one of the daughters of "Cuatro Tetas"; high lighting this wounded and broken memory despite the pleasant moments in my family. Pesonal family archive, year unknown, Lambayeque, Perú.

© Joel Luna Prado - Image from the El Tetas photography project
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Collage: Photographic archive of Rosa's birthday, embraced by her son. Overlaid text is a letter from Julio Prado Suclupe, one of Rosa and José's sons, recounting his father's treatment of him. This highlights the stark contrast between the "Four-Breasted Dad" and the affection he showed the male members of his family. Archive intervention, 2025, Lambayeque, Peru.

© Joel Luna Prado - Image from the El Tetas photography project
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Back of a printed photograph from the family archive, showing the faint silhouette of Rosa, wife of "Cuatro tetas". Family archive, year unknown, Lambayeque, Peru.

© Joel Luna Prado - Image from the El Tetas photography project
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Papa cuatro tetas being bathed by one of his sons in his room, showing that despite a past full of mistakes, there is care from his family toward him. Lambayeque, Peru, 2023

© Joel Luna Prado - Image from the El Tetas photography project
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Diptych: On the left side is one of the fragments of a letter Viviana Prado wrote to her father upon his death. On the right side is a photo of one of Viviana's nieces in her room, representing the loneliness she feels, creating a connection between the image and the text. 2025, Lambayeque, Perú.

© Joel Luna Prado - Image from the El Tetas photography project
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Intervention in the family photographic archive of the entire Prado Suclupe family. The photo is cut off on the right side, drawing a male silhouette. It also includes a family photographic archive and a letter from Sinthia, which shows that despite her father's mistakes, she still feels affection for him. Archive intervention, 2025, Lambayeque, Perú.

© Joel Luna Prado - Image from the El Tetas photography project
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Diptych: On the left, a fragment of Viviana's letter dedicated to him, expressing forgiveness. On the right, a photograph from the family archive showing Sinthia, my aunt, her hand held by a masculine hand. Lambayeque, Peru, 2025

© Joel Luna Prado - Image from the El Tetas photography project
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The Prado Family posing next to the grave of Jose "Cuatro Tetas" reflecting this union not only between life and death, but also the first time after a long time that children, wife, and husband have all been together in one image. 2023, Lambayeque, Perú.

© Joel Luna Prado - Image from the El Tetas photography project
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Portrait I made of my grandfather, whom I called "Papá Cuatro tetas." He stared directly at the camera, aware I was contemplating him, photographing him. I expected a question or reproach, but he simply looked at me without saying anything and turned to look outside, as if nothing had happened.