I'm Azu, a multidisciplinary designer, researcher, and artist. An always curious, highly empathetic, and compulsive maker, I believe that following a human-centered design process is the backbone to experiences that have an impact on individual, societal, and global scales. I'm  looking for new, meaty problems to solve beginning Summer 2018 and beyond, if you know of please write me: hola [at] azuroma [dot] com.

Currently, I'm completing an MFA in Interaction Design at the School of Visual Arts where I'm exploring ways to facilitate dialogue in the End-of-Life space. 

Previously, I taught Design and Narrative at Loyola University New Orleans, worked with clients as a visual designer, presented artwork at SCOPE Miami, and served on the board for AIGA New Orleans.  I've earned a BA in Graphic Design, a BA in Sociology, and a BA in Film, Theatre, and 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.