Hi, I'm Azucena. I'm interested in design that conveys powerful narratives through meaningful stories, transforms physical spaces, and can create an impact on personal, societal, and global levels. 

A New Orleans native and first-generation Guatemalan American, I spent my childhood between two culturally rich, yet underserved communities that instilled me with a passion for the arts, an on-going dedication to service, and a desire to affect social change. Building off of this duality, I double majored in sociology and communications, followed by a degree in graphic design. I've spent the past few years advancing my diverse skill set working as a designer, artist, and design educator. 

Currently, I'm a pursuing an MFA in Interaction Design at SVA where I'm combining my skills, conceptual thinking, and diverse lens into design solutions with greater potential. 



I like meeting people with similar interest areas and goals. If thats you, reach me via TwitterLinkedIn, or Email.

Artist Statement

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.