Alfredo Romero

Mexico-based, Alfredo Romero, creates an artistic conversation between social memory, ephemeral architecture, advertising signs and the passage of time. Through the strappo technique, used by anthropologists and archaeologists, Romero detaches and restores mural paintings on the façades of old walls throughout cities in Mexico. Often deteriorating or having been painted over several times, buildings have old advertisements, public announcements, political slogans and graffiti. These decaying facades are seen throughout Latin America in cities and small towns and have become an identifying feature of the culture. Vestiges of neighborhood mom and pop shops that have slowly disappeared with globalization and were once an integral part of a tightly-knit community.  Romero begins by getting to know the people in the area very well. His project gives the locals a voice by listening to the previous generational stories and creating artwork that encapsulates the timelines of these communities from the last half century that otherwise would disappear. Back in his studio, the artist adds his own interventions to the delicately removed facades, creating a bridge between locals, art institutions and art collectors, putting them at the same table, exchanging dialogue about social, historical and cultural references, and relating to one another.

Alfredo Romero was born in 1974 in Barcelona, Spain. He now lives and works in Mexico. Romero studied Fine Art, interior architecture, graphic design and Art History at the School of Arts Applications and Offices of Rubi, Barcelona, Spain; The School of Design EDRA, Barcelona, Spain and the Technical School of Architecture, Barcelona, Spain.

PROCESS

“Strappo” is an Italian word meaning “tearing.” The artist lifts away the topmost paint layer, by adhering a wide-weave cloth to the surface and then delicately peeling it back and removing it from the wall facade. Back in the studio, Romero removes the cloth and adhesive and places the paint layer atop canvas and then adds his own artistic interventions.