I'm a multi-disciplinary designer, artist, and researcher. I believe that following a  human-centered process holds the key to creating an impact on personal, societal, and global scales. My experiences as a first-generation American, raised between the rich cultures of both New Orleans and Guatemala, have greatly influenced the lens through which I experience the world and my desire to work with other towards their empowerment.

At the moment I'm thesis-ing hard in the  MFA in Interaction Design at the School of Visual Arts and exploring ways to facilitate conversations in the End-of-Life space. I am also searching for opportunities starting Summer 2018 and beyond, if you know of any let's talk.

Before attending SVA, I taught Print and Design Narrative at Loyola University New Orleans, worked with clients as a freelance print designer,  exhibited as a visual artist, and served on the board for AIGA New Orleans.  I hold a BA in Graphic Design, BA in Sociology, and a BA in Communications. 

I nerd out over speculative design, design for social impact, design ethics, and systems thinking.

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Azu Romá, a Guatemalan-American visual artist based in New Orleans, creates site specific work with dyed sawdust, flowers and found materials. Romá reinterprets traditional folk art techniques, specifically the Alfombras de Aserrín associated with Mayan culture in her parents' native country of Guatemala, using typography and pattern making. The richly colored ephemeral works, most often displayed in public and community spaces, are subject to the impact of the environment. The work is temporal and fleeting, revived through personal memory and effaced by time.  The long and meticulous process of creating patterns in public spaces, juxtaposed by the impermanence of sawdust as an art medium, contextualizes notions of change, transience, eventual decay and death.  

Further subtleties within Romá’s work can be traced back to her personal narrative, one directly influenced by cultural heritage and nationality. Through both process and medium, Romá is examining deeper questions of personal identity and sense of place, reflecting upon the relationship of a first generation immigrant to that of their ancestral origins. Romá’s proclivity to fold traditional methods of making Alfombras into her contemporary art practice is a creative hybridity that ensures a future for familial traditions that would otherwise appear lost. By consciously morphing and weaving traditions of bequeathed folk culture into her practice, Romá reveals a new story; one that is identifiable as her own.