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About

Azucena Romá is an interdisciplinary designer, artist, and educator based in New Orleans and New York. An always curious, empathetic, and compulsive maker she believes that following a human-centered design process is the backbone to experiences that have an impact on individual, societal, and global scales.

She recently completed her MFA in Interaction Design from SVA in New York where her thesis project explored planning for End-of-Life. She’s also successfully funded a Kickstarter project Recuerdos: Momento Mori; a enamel pin project to serve as a visible marker and conversation starter connecting people who've experienced loss.

Her work has been featured in Vice News, Wired, Bloomberg, Forbes, Motherboard, and Complex. Azu’s art has been exhibited at SCOPE Miami Beach, Prospect 3+, the New Orleans Jazz & Heritage Festival and she was named one of "20 New Orleans Artists You Should Know" by Complex.com.

 

Education —
+ MFA Interaction Design, School of Visual Arts, New York
+ BA Graphic Design, Loyola New Orleans
+ BA Sociology, University of New Orleans
+ BA Communication Arts, University of New Orleans


Select Press —
Vice News, Wired, Bloomberg, Forbes, Motherboard, RedBull, Complex


Contact —
+ Email
+ LinkedIn
+ Twitter 

Select Clients —
The New York Times, The Central Park Conservancy, New York Department of Transportation


Teaching —
Print + Design Narrative, Loyola N.O. 2019
Print + Design Narrative, Loyola N.O. 2014-2016
Typography for Web, StartUp Institute 2017


Workshop & Lectures —
Designing Your Funeral Ritual, Future Labs, 2018
Finding Your Creative Voice, University of North Texas, 2018
Designing Your Funeral Ritual, Re:Imagine Week NYC, 2018
Designing Your Funeral Ritual, Design Dream Lab, 2018


ARTIST STATEMENT

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Azucena Romá, a Latin American visual artist, 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.