“I listen to stories with the camera”: John O'Leary

▲ Aura , Cholula, Puebla (2024), and Self-Portrait (2019). Photo courtesy of John O'Leary

▲ Images from the series The Passion of the Christ , Puebla (1984). Photo courtesy of John O'Leary

▲ The Godmother (2025) Photo courtesy of John O'Leary

▲ The Last Conquest , Cholula, Puebla (2014) Photo courtesy of John O'Leary

▲ The Indian , Córdoba, Veracruz (1980). Photo courtesy of John O'Leary

Daniel López Aguilar

La Jornada Newspaper, Friday, August 22, 2025, p. 2

John O'Leary has made the visual memory of San Pedro Cholula, Puebla, his territory.

Between the pyramid that crowns the city and the alleys where the mayordomos prepare for the festivities, his photographs span decades: they capture the essence of everyday life and reveal the rhythms of tradition that persist despite time.

Along with Maritza López, he will receive the Medal of Photographic Merit today at the National Museum of Anthropology, a recognition that the anthropologist considers “a solemn moment” and “a way to embrace the community that has supported me for years.”

Born in Temple, Texas, in 1949, O'Leary defines himself as Mexican by choice. He came to the country with the intention of studying for a year and never left. “I fell in love with the people, the town of Cholula, with this country. I applied for naturalization and here I am,” he said in an interview with La Jornada .

“Since I was a child, I developed a connection with photography, which arose as an act of curiosity and was consolidated over years of deep observation.

“My first intentional image was taken at age seven, when I borrowed my mom's camera. I captured the school, the moment, and the presence of my classmates. From then on, I understood that every recording is testimony and memory.”

Her training in anthropology helped her understand rituals, meanings, and social organization. “Living as a member of the community gave me access to moments that no one else could record. Thanks to this ethnographic perspective, I was able to capture not only gestures, but also the way history lives on among the inhabitants.”

“Cholula has been a continuous settlement for more than 3,000 years. History beats in every street, in every ritual, and the lives of its inhabitants reflect centuries of traditions that remain intact. That fascinates me.”

John O'Leary approached professional photography through daily practice with friends and colleagues, as well as participating in social portrait sessions and observing the work of other artists.

His first major recognition was the acceptance of some of his pieces at the first Latin American Photography Colloquium, held at the Museum of Modern Art in 1978.

Since then, his vision has become established as the visual memory of San Pedro Cholula and its surrounding areas, a record that combines documentary rigor with artistic sensibility. In Cholula, he is known as the "people's photographer"; some even recognize him as the region's graphic chronicler, a reflection of the closeness and commitment he has cultivated with the community over decades.

Among his most notable series is The Passion of the Christ , in which he has documented for decades the annual performance organized by a resident of the Romero Vargas neighborhood.

“I went to see the play about 20 times. I watched how the role of Christ evolved over time, how the actors aged, and how the community continued the tradition. It's fascinating to see the commitment some people maintain to a practice for 50 years,” he recalled.

Another relevant chapter was local wrestling, which allowed me to capture the passion of amateur athletes dedicated to a popular art. “The boxers invited me to follow them for years, and sometimes I worked in parallel with other series; it's a testament to the daily life and the effort of those who love their sport.”

He acknowledged the tradition of those who came before him: from Humboldt and Bandelier to William Henry Jackson, as well as the Kilburn brothers; all of whom left a record of Cholula and its surroundings. “Following that thread gives me a sense of continuity. There's room for more images and more memory. I'm contributing to the line of those who have documented this region.”

Its archive includes processions, fairs, patron saint festivals, mayordomías, and a collection of antique postcards exceeding 4,000 pieces, from Cholula, Puebla, Atlixco, Tlaxcala, and Veracruz.

"I wanted to open a space where photographic memory isn't locked away. The community and researchers can access the images; that's preserving history," he said.

“Receiving the Medal of Photographic Merit is a collective recognition for Cholula's neighbors, friends, and colleagues, as well as for those who contribute to preserving the community's memory, as the award is granted by the National Institute of Anthropology and History.”

To the new generations of artists, he offers a piece of advice: "Practice, observe, and respect the community. Photography is memory, and this is our responsibility."

For O'Leary, documenting is a form of belonging, of "teamwork; I carry the community behind me. Each image is a collective act, a commitment to the history and culture of our people."

“Constant observation and patience are extremely important in documentary photography. It's not just about pointing and shooting, but about understanding the timing, gestures, and cadence of people's lives. Each shot requires respect for what's happening in front of you and the story that moment embodies.”

The photographer also reflected on cultural continuity and memory. “When you document traditions, festivities, or rituals, you are connecting generations. Every mayordomo who fulfills his duty, every wrestler who enters the ring, every child who gazes at the pyramid: they are all part of a historical fabric that deserves to be preserved.”

“Cholula is a living organism. Every street, every plaza, every feast has a story to tell. My work consists of listening to those stories with the camera.”