Betsabee romero biography

Right: Rubber and Feathered Snakes Laura Filloy Nadal: You have always liked to experiment with materials that may be conventional in certain contexts but unusual for making art. For example, you have worked with thread, plastic, chewing gum, and rubber. They are all substances present in our everyday lives. What do you like about these types of materials?

Rubber led me to a sort of reverse movement. And I realized that the tire can move, but not on its own. When it does move, it leaves a track. When I decided to start working with tires, I began with the material of rubber itself, its history, and the tread as a kind of stamp or seal. Ultimately, I recycle tires not only because they are a complicated type of refuse in this world in terms of the speed and the amounts in which tires are produced and used daily, but also because I could resignify the tire as a cylinder seal.

All this research and work made me realize how cylinder seals were instruments of engraving, memory, and the impression of elements from cultures which have left a trace. These seals have been found to exist in all cultures. They are far more universal than tires and have given me a romantic argument that memory is more important than speed.

Top left: Roller stamp with birds10th—15th century.

Betsabee romero biography

Mexico, Mesoamerica. Ceramic, W. Top right: Stamp, Butterfly14th—early 16th century. Mexico, Mesoamerican. Mexica Aztec. Bottom: Figure Vessel8th—12th century. Ceramic, pigment, H. Filloy Nadal: Yes, these seals roll, leave marks, and are also similar to the pintaderas— ceramic, mud, or wood stamps from the pre-Hispanic period—that have been found throughout the Americas, in Mesoamerica as well as South America.

They were used to apply motifs on ceramics and leave their impressions on a range of materials, including textiles, and even the body. Your work focuses on the transformed tire, but you also utilize that same sense of leaving an impression on other materials. Romero: I was interested in reinscribing manually, slowly, artisanally, the iconography of cultures that have been left behind, but also in printing on materials that are not conventional in contemporary art.

On another occasion, I engraved on wire mesh to remember this idea of a cage in which cultures historically have been kept. In different arenas, I have employed various symbolic materials that were used in the past. But what has interested me most in what I have studied about these seals is the realization that everything means something—the material, the shape, the size, and the color all have meaning.

Filloy Nadal: The Havana Biennial was one of the first times you explored this way of rethinking textiles, rethinking seals, rethinking these materials that rotate, and you spoke about these cylinder seals that move and leave an impression, a trace, a memory. Vancouver Biennale. Antiguo Colegio de San Ildefonso. Museum Publicity. May 1, San Antonio Current.

September 27, June 17, Retrieved October 23, Nelson-Atkins Museum of Art. April 9, Nelson-Atkins Museum of Art Collection. Milenio Digital Tampico. December 7, Mexican Embassy. November 2, October 18, Inside Mexico. Retrieved October 29, February 22, Noticias 22 Digital. Museo Dolores Olmedo. May 20, Authority control databases. Powered by WordPress.

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