Subscriber First Name͏‌ ͏‌ ͏‌ ͏‌ ͏‌ ͏‌ ͏‌ ͏‌ ͏‌ ͏‌ ͏‌ ͏‌ ͏‌ ͏‌ ͏‌ ͏‌ ͏‌ ͏‌ ͏‌ ͏‌ ͏‌ ͏‌ ͏‌ ͏‌ ͏‌ ͏‌ ͏‌ ͏‌ ͏‌ ͏‌ ͏‌ ͏‌ ͏‌ ͏‌ ͏‌ ͏‌ ͏‌ ͏‌ ͏‌ ͏‌ ͏‌ ͏‌ ͏‌ ͏‌ ͏‌ ͏‌ ͏‌ ͏‌ ͏‌ ͏‌ ͏‌ ͏‌ ͏‌ ͏‌ ͏‌ ͏‌ ͏‌ ͏‌ ͏‌ ͏‌ ͏‌ ͏‌ ͏‌ ͏‌ ͏‌ ͏‌ ͏‌ ͏‌ ͏‌ ͏‌ ͏‌ ͏‌ ͏‌ ͏‌ ͏‌ ͏‌ ͏‌ ͏‌ ͏‌ ͏‌ ͏‌ ͏‌ ͏‌ ͏‌ ͏‌ ͏‌ ͏‌ ͏‌ ͏‌ ͏‌ ͏‌ ͏‌ ͏‌ ͏‌ ͏‌ ͏‌ ͏‌ ͏‌ ͏‌ ͏‌ ͏‌ ͏‌ ͏‌ ͏‌ ͏‌ ͏‌ ͏‌ ͏‌ ͏‌ ͏‌ ͏‌ ͏‌ ͏‌ ͏‌ ͏‌ ͏‌ ͏‌ ͏‌ ͏‌ ͏‌ ͏‌ ͏‌ ͏‌ ͏‌ ͏‌ ͏‌ ͏‌ ͏‌ ͏‌ ͏‌ ͏‌ ͏‌ ͏‌ ͏‌ ͏‌ ͏‌ ͏‌ ͏‌ ͏‌ ͏‌ ͏‌ ͏‌ ͏‌ ͏‌ ͏‌ ͏‌ ͏‌ ͏‌ ͏‌ ͏‌ ͏‌ ͏‌ ͏‌ ͏‌ ͏‌ ͏‌ ͏‌ ͏‌ ͏‌ ͏‌ ͏‌ ͏‌ ͏‌ ͏‌ ͏‌ ͏‌ ͏‌ ͏‌ ͏‌ ͏‌ ͏‌ ͏‌ ͏‌ ͏‌ ͏‌ ͏‌ ͏‌ ͏‌ ͏‌ ͏‌ ͏‌ ͏‌ ͏‌ ͏‌ ͏‌ ͏‌ ͏‌ ͏‌ ͏‌ ͏‌ ͏‌ ͏‌ ͏‌ ͏‌ ͏‌ ͏‌ ͏‌ ͏‌ ͏‌ ͏‌ ͏‌ ͏‌ ͏‌ ͏‌ ͏‌ ͏‌ ͏‌ ͏‌ ͏‌ ͏‌ ͏‌ ͏‌ ͏‌ ͏‌ ͏‌ ͏‌ ͏‌ ͏‌ ͏‌ ͏‌ ͏‌ ͏‌ ͏‌ ͏‌ ͏‌ ͏‌ ͏‌ ͏‌ ͏‌ ͏‌ ͏‌ ͏‌ ͏‌ ͏‌ ͏‌ ͏‌ ͏‌ ͏‌ ͏‌ ͏‌ ͏‌ ͏‌ ͏‌ ͏‌ ͏‌ ͏‌ ͏‌ ͏‌ ͏‌ ͏‌ ͏‌ ͏‌ ͏‌ ͏‌ ͏‌ 

www.rossanaromero.com

Updates From The Studio!

I recently finished several new pieces and have listed them in the link below with all my available work that are ready to collect!

https://docs.google.com/document/d/13nELtcHl5h80l8WWdtexzAagQKR-tmVdSv4vcwtaJVM/edit?usp=sharing

I had a lot of fun creating mood boards for my work during the process of researching and creating these pieces. I am excited to be able to share with everyone where I am gaining my inspiration and resources, especially for those who can’t come to the studio for a visit and talk more about my work.

As I move forward, I want to invite viewers to join me on a journey through the worlds I create - worlds that invite contemplation and discovery. I'm not shying away from the conversation around erased history in South America, but I am changing the way I approach it. Rather than simply teaching the facts, I want to explore why this history matters and why I'm opening this dialogue in the first place.

My research into the colonization of Latin America helped me understand why I felt empty and disconnected. Growing up, I didn't know what love was or what it meant to feel safe, heard, and held. To understand what love means, I needed to understand why I didn’t have it and why it couldn’t show up for me. I believe it is important for people to understand that my work is less about understanding my identity, which I have never been confused about, and more on understanding what love means and why it wasn’t felt around me. It was only through understanding the erased history of South America that I began to make sense of my experiences. I realized that the survival mentality that characterized the region had left little room for empathy and connection.

Learning about the horrors of colonization - from the importation of produce to displacement and genocide - helped me see that the system we were born into wasn't a choice. It was a cycle of survival that detached us from empathy and connection, especially with the generations before me. It helped me understand why there was no space for love or connection in my own life. I saw the same parallels and how this reflected in the redlined neighborhoods growing up Houston, where cycles of poverty, depression, and substance abuse seemed to perpetuate themselves endlessly.

Moving forward, I'm continuing this conversation with the mythology, spiritualism, and folklore that are so deeply ingrained in Latin American culture. I am experimenting and learning to explore the nostalgia of cultural references from novelas, films, and music that shaped me and continue to influence my work. Through this exploration, I hope to shine a light on the modern-day exploitation that Western countries continue to perpetuate in Latin America. From the banana farms and coffee plantations to the oil fields and rubber factories, this exploitation is linked to corruption, poverty, and violence. The only way to escape this poverty is through crime or beauty (cartels and plastic surgery which became a huge stereotype for Colombia) - or to be one in a million in terms of talent.

Through my work, I want to take you on a journey through the dark woods and under the rivers that are so dark you cannot see your feet. I want to invite you to join me in confronting the erased history of South America, and to explore the connections between the past and the present and the parallels within other countries infiltrated by the same system. I want to invite others as well to be able to find forgiveness and their own form of empathy within the work. May that forgiveness mean to be softer with yourself when making mistakes or to find the softness in the people around you with their mistakes.

La Vendedoras de rosas, ‘Deprisa! Deprisa!’, ‘Baby Sicarios’, ‘Sin Tetas No Hay Paraiso’, ‘Birds of Passage (Pájaros de verano)’ , ‘Embrace of the Serpent (El abrazo de la serpiente)’ ‘Los Viajes Del Viento’, ‘Rosario Tijeras’

‘Donde Esta Los Ladrones?’, 100 years of solitude, Magdalena; River of Dreams, Open Veins of Latin America

Fernando Botero, Beatriz Gonzales, Sandro Botticelli, Venus of Willendorf

https://www.telesurenglish.net/news/Botero-Donates-Peace-Dove-to-Colombians-Before-Referendum-20160924-0016.html

https://www.atlasobscura.com/places/the-birds-of-peace-medellin-colombia

https://www.academia.edu/45001623/The_Politics_of_Taste_Beatriz_Gonz%C3%A1lez_and_Cold_War_Aesthetics_Beatriz_Gonz%C3%A1lez_A_Retrospective

https://www.khanacademy.org/humanities/art-1010/latin-america-modernism/constructivism/a/geometric-abstraction-in-south-america-an-introduction

https://www.uffizi.it/en/artworks/birth-of-venus

https://www.britannica.com/topic/Venus-of-Willendorf

https://audio.mfah.yourcultureconnect.com/e/golden-worlds:-the-portable-universe-of-indigenous-colombia/house-shaped-offering-container

https://www.southworld.net/colombia-the-ticuna-ritual-called-pelazon/

https://www.colombia.co/actualidad/especiales/por-que-celebramos-el-dia-de-las-velitas

María Salomé

  • Angelillo

Con los rizos de su frente al acercarme

Yo rozaba el azabache de su cara

Los luceros de sus ojos me cegaron

En la niebla que ocultó la luna clara.

 

Temblores de angustia sentí por mi cuerpo

cuando estremecío le dije te quiero

y con su silencio se puso amarilla

igual que se pone la flor del Romero.

 

Y al hacer noche la tribu ,en medio del limonar

por entre los limoneros ya no la pude encontrar.

 

Por ti fue, María Salomé

Luz de mis tinieblas, agua de mi sed

Salomé, María Salomé.

Arrodillaíta muriendo de pena

sufre por tu culpa, María Salomé.

 

Por ser hija de la reina de la tribu

sus caprichos como leyes respetaban

No hubo na que se negara a su deseo

mi desprecio solamente la mataba.

 

Y el Rey de la tribu, le dijo en la zambra,

por lo bien que bailas, pide lo que quieras

y llena de celos, dijo enloquecida:

sólo es mi deseo, que el gitano muera

 

Y me quitaron la vida, en medio del limonar

y vi al limón limonero, gotas de sangre llorar

https://www.britannica.com/biography/Salome-stepdaughter-of-Herod-Antipas

If you are interested in collecting my available work please follow this link

https://docs.google.com/document/d/13nELtcHl5h80l8WWdtexzAagQKR-tmVdSv4vcwtaJVM/edit?usp=sharing

For more questions and concerns, please email me.

For those of you who are interested in prints, I have made a limited set of giclee prints for 'La Ultima Cena' in honor of this painting currently being used in the newsletter for The Center for Latino Research and The Department of Latin American and Latino Studies at DePaul University in Chicago.

These are an exclusive set of 15, printed on Innova Soft White archival paper, 18 x 24 inches in size. I will not be making any more after this run. There are only a couple prints left in this set!

Please let me know if you are interested in collecting a print before it is too late!

‘La Ultima Cena’ 30 x 40, Oil on Canvas, 2019

From Rossana’s Studio

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Rossana Romero LLC, Brooklyn, NY, United States

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