Rebeca Romero 

Born in Lima - Lives and works in London

She received an MFA in Fine Arts from Goldsmiths University of London (2020). Selected exhibitions include ’Bloomberg New Contemporaries', Firstsite Colchester & South London Gallery, UK (2021), 'Banho de prata', aDrogaria, Porto (2021), ‘The Obsolete in Reverse’ solo, Springseason Gallery, UK (2020), ‘London Grads Now,’ Saatchi Gallery, UK (2020), ‘Pou sou Nefko Pou Paeis’, Korai Project Space, Cyprus (2020) & ‘The one that’s always there, the one that came late, the one that never arrived, the one that wasn’t invited’, SB34-The Pool, Belgium (2019). Her text/sound work has been featured in platforms like New Writing with New Contemporaries, South London Gallery, UK (2022) and Future Artefacts, RTM.FM (2021) 

She has been recently awarded the Develop Your Creative Practice grant by the Arts Council of England.

Romero’s multidisciplinary practice spans sculpture, ceramics, textile work, writing and performance. Through her work she explores concepts of diasporic identity, ‘truth’, ‘fiction’ and their relationship to the digital age.

In an attempt to once again “turn the world upside down”, as once recorded by the Quechua chronicler Guaman Poma de Ayala, she creates objects, stories and sounds that challenge hegemonic world-views, tackles the myth of ‘modernity’ and draws possible futures within a now intrinsically globalised world.

Drawing from her Peruvian heritage, Romero sets to draft new versions of the future. This is approached by the artist not only as a revindicating act (as a response to the erasure that took place during the colonization of ‘the Americas’) but as a healing and empowering exercise. Presenting a possibility of existence outside the modern-colonial world system.

"There is a liminal aspect to my work, probably linked to my experience as a displaced person but also a concept frequently found in indigenous cosmovisions. I often reflect on ‘being in the in-between’, its challenges and its possibilities. When approaching this subject, technology presents itself to me as both an obstacle and a door, blockage and bridge, shape-shifting and glitching come to be survival techniques".

Combining pre-Columbian iconography with advanced 3D printing techniques and a range of materials that go from clay to plastic, Romero’s works swing drastically between the past and the future. The result is a constant overlapping between archaeology and forgery. Fiction and finding intertwine in could be considered an accurate reflection on history. 

“Artefacts play an important role in my practice; by understanding them as holders of history, I’m able to activate its world-making potential. So does storytelling and speculative fiction. My live readings are often supported by site-specific lighting and sound. The power of affect and collectivity is fundamental to the construction and performance of these pieces".

Romero’s current research explores the possibility of reconciliation between old and new knowledge and supports the urgency for new myths while questioning ideas and practices of representation, appropriation and authorship.


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