Title: The imprint is a never-ending flower
Year: 2005
Technique: Carved tire
Size: 58 x 58 x 19 cm
Mexico, 1963. She studied art at the San Carlos Academy and at UNAM, as well as at the School of Fine Arts in Paris, France. She has participated in several international artist residencies and exhibitions such as the Venice Biennale, Havana Biennale, Porto Alegre Biennale, Poly/Graphic Triennial in Puerto Rico, Louvre Museum, Reina Sofía Museum, and the Cairo Biennale.
Her work is part of important collections such as in the British Museum, the Daros Collection in Switzerland, the Nelson-Atkins Museum of Art, the Nevada Museum of Art, the World Bank in Washington, Gelman Collection in Mexico, MOCA in Los Angeles, the Monterrey Museum, and the Porto Alegre Museum of Contemporary Art in Brazil, etc.
Betsabeé Romero expresses herself through different art forms –painting, photography, collage, serigraphy, sculpture, and installations– but her favorite material come from cars and all its components, namely tires.
Since the start of her career, the artist has used unconventional supports: fabrics, plastics, woven or knitted mats. This choice is attributed to the fact that painting is the art form of galleries, and it always attracts the same audience: museumgoers.
The artist becomes witness to and a critical eye of her society. Both a herald raising awareness through her installations that commemorate the fate of migrants and a guardian of memory through her work on the pre-Hispanic past, Betsabeé Romero presents her artwork as mirrors to help us take a better look at reality.
Thus, her visual universe places the viewer in astonishingly familiar situations that reflect our daily lives and modern social issues.
