(English bellow)
La silla ANAROSA posee una personalidad sumamente definida, todos los elementos que se han conjugado para crearla, forman parte de la entidad del estado de Michoacán.
Las emblemáticas trojes de la meseta purépecha y todo su trabajo de ebanisteria en su interior, sirvió como referencia para darle un formato basado en la clásica "silleta baja” especializada para costura, dónde sus características principales son el asiento más amplio de lo regular, de estatura más baja, respaldo semi curvo en la parte lumbar de la espalda y sin travesaño al frente.
El trabajo de torno resulta el aderezo más importante en toda la conceptualización de la pieza, ya que este oficio cada vez menos utilizado, hace que el manejo de la técnica sea aún más especial, razón por la cual decidimos hacer referencia al molinillo para espumar el cacao.
La madera noble de caoba y su majestuoso tono rojo intensificado con el recubrimiento de aceite de linaza, crea un híbrido perfecto con el tejido de fibra de chuspata en la base del asiento; esta materia prima proveniente de la zona lacustre del estado, es trabajada en mobiliario principalmente en Maravatío y Quiroga, haciendo alusión a los colores rojizos de la tierra rica en hierro que caracteriza a la meseta Purépecha.
ANAROSA es una pieza completamente sustentable, elaborada 100% a mano por grandes maestros artesanos en ensamble de uniones de caja y espiga, sin clavos, ni productos químicos.
Este proyecto estuvo acogido por fundación Javier Marín dentro de el Centro Cultural Fábrica San Pedro y el Centro de Investigaciones de Diseño Industrial de la UNAM.
Agradecemos el apoyo a todos y cada uno de los involucrados que hicieron parte de esta maravillosa experiencia.
Dimensiones: altura 75 cm x ancho 59 cm x profundidad 55cm
Contacto comercial: René Orozco (+52) 222-732-4413
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The ANAROSA chair has a very distinct personality, all the elements combined to create it, are part of the essence Michoacán: the soul of Mexico
The emblematic "trojes" of the Purepecha plateau and all its interior woodwork served as a reference to give this chair a low classic format, where its main characteristics are a wider seat, lower stature, semi-curved to frame the lumbar part of the back with no crossbar at the front.
The lathe work is the most important element in the conceptualization of the piece, since this craft is less and less used, making the handling of the technique even more special. This is the reason why we decided to make reference to the grinder for frothing cocoa, specially used for making hot chocolate.
The majestic red tone of the mahogany hardwood is intensified by the several coat applications of organic linseed oil, alludes to the reddish colors of the iron-rich earth that characterizes the Purépecha plateau.
The wood creates a perfect hybrid with the “chuspata”, raw material from the lake area of Michoacán used in furniture in Maravatío and Quiroga towns, creating a conceptual Michoacán landscape in the form of a chair.
ANAROSA is a completely sustainable piece, 100% handmade by master craftsmen in the assembly of box and dowel joints, without nails or chemicals.
This project was hosted by the Javier Marín Foundation within the Centro Cultural Fábrica San Pedro and the Centro de Investigaciones de Diseño Industrial de la UNAM.
We are grateful for the support of each and every one of the people involved in this wonderful experience.
Dimensions: height 75 cm x width 59 cm x depth 55cm
Commercial contact: René Orozco (+52) 222-732-4413
Website: https://cicesa.wordpress.com/
RESEARCH CENTER FOR THE STUDY OF CONSCIOUSNESS AND INDIGENOUS SCIENCES
RQ- Can meditation help us create community and shared experiences as a path towards climate activism? And if so, can Indigenous sciences inspire us to design shared experiences while visiting places of power?
There is an eminent disconnection with the environment, the people around us and with ourselves. There is a general spirit of entitled colonisation, mixed with a lack of empathy for other humans and non-human organisms like animals, insects, trees, moss and fungi.
I grew up in Mexico, close to the monarch butterfly sanctuaries and played on ashes on the outskirts of the youngest volcano in the world: El Paricutin (‘place at the other side’ in Purepecha). It was through my experiences in these places of power that I fell in love with nature and butterflies. Volcanoes and sanctuaries are considered places of power for having strong magnetic fields, this is how monarch butterflies find them during their epic migrations in North America. Due to loss of habitat, the monarch butterfly colonies have relocated to nearby volcanoes situated on the Trans-Mexican Volcanic Belt. In 2012, an unidentified object was documented entering one of these volcanoes, causing magnetic anomalies registered over central Mexico in synchronicity with volcanic activity around the world. I visited this place to practice meditation with a group of friends with whom I shared an experience of expansion of consciousness (a.k.a. the coherent state in neuroscience). According to Grinberg (1988), the coherent state can be achieved through meditation, which embodies the self-reflection necessary to shift our experience of reality and can help us achieve unity with the universe.
In order to further research the coherent state and how places of power can enhance the process of reconnecting with ourselves and the environment, I created a Research Center for the Study of Consciousness and Indigenous Sciences, dedicated to the creation of collective experiences inspired by ancestral wisdom. Our objective is to study the effects of the different activities aimed at the concentration of attention, exploration and expansion of consciousness, on all aspects of human life, while integrating the ancestral and collective interest of understanding our bodies as sophisticated biotechnology in harmony with the Earth. To inform the outcome of this project, I visited and shared experiences in two places of power, both in Mexico: the volcano Iztaccihuatl (‘white woman’ in Nahuatl) where new monarch butterfly colonies have been reported hibernating in recent years and the third largest monolith in the world: Peña de Bernal.
In this three-month programme, we were called for an investigation into belief systems and religion. As a part of the practice-based residency, we unravelled the relationships between religions and nation-states; and beliefs systems and economics; through a series of experiences, and creative interventions involving political theory and practice. Together we explored: How can we radically reframe our belief systems being political, economic and sociological- within and outside of institutions? Can/should religion and beliefs disappear?
On the programme, Head of Programme, Nahum states “Conjuring this programme posed a great challenge as we wanted to include as many views and topics as possible. The programme was designed to cover a gradient of topics around beliefs and their intersection with other critical fields. We acknowledged the problematic task of rigidly categorising and boxing these topics. Instead, we explored their fluidity and how these themes blend together into a kaleidoscope, sometimes kindly touching each other, sometimes strongly contrasting one another. During a three-month journey, we submerged ourselves in a myriad of lectures, workshops and discussions. What role does religion play in our economic and political system? Can spirituality end our abusive relationship with nature? Can we question our own beliefs while being kind to others? In weekly conversations with the cohort, I witnessed how the researchers started formulating their own questions that slowly materialised in a series of unique projects. On the following pages, I invite you to navigate and unravel what the researchers of the University of the Underground have produced after arduous and passionate work.”
Oil on Canvas. 230 cm x 160 cm.
Ophelia (detail). David Jonathan Romero, oil on canvas.
Ophelia (detail). David Jonathan Romero. Oil on Canvas
Oil on canvas. 230 cm x 160 cm
El Hada Ignorante, oil on canvas 120 x 100 cm, Mexico.
Patience Will Triumph, from the series To Insects Sensual Lust. Oil on Canvas 150 x 100 cm.
Red. David J. Romero. Oil on canvas. 100 x 120 cm. Mexico City, 2016. Part of the exhibition To Insects Sensual Lust, Galeria Corsica, Puerto Vallarta, Jalisco.
Self-portrait in front of the painting Jesus de las Mariposas, to be exhibited at the Museum of Modern Art of Mexico City, as part of the group exhibit Mexico Vivo 2017.
Jesus de las Mariposas. David J. Romero, 2017, to be exhibited at the Museum of Modern Art of Mexico City, as part of the group exhibition Mexico Vivo 2017.
Oil on canvas. 100 cm x 120 cm. Part of the exhibition To Insects Sensual Lust
(detail) Creativity Goddess, 2016. 120 cm x 100 oil on canvas.
Besando Mariposas, oil on canvas 150 x 100 cm, Private collection, Berlin, Germany.
Besando Mariposas (detalle), oil on canvas 150 x 100 cm, Private collection, Berlin, Germany.
Romero’s site-specific installations are an artistic representation of the monarch butterflies sanctuaries of Mexico.
Installing 1200 acetate butterflies on the light fixture of the Mexican Institute of Culture of San Antonio. Exhibition organized by the Secretary of Foreign Relations for San Antonio’s first Monarch Butterfly and Pollinator Festival, a roaring success! read more:
Acetate butterflies and crystal chandelier. (Private collection)
The photo above and bellow are ten-thosand monarch butterflies is a traveling installation made possible by LDMX, in Galerías Serdán, Mexico.
“Romero arrived early in the week to install thousands of laser cut butterflies onto the light fixtures illuminating the staircase at the Institute. The effect is a dreamy interpretation of what many will never have the chance to see. “ - Monika Maeckle
1800 butterflies installed for Bahidorá 2017, Music Festival in Las Estacas Morelos, Mexico.
150 acetate butterflies in a bull skull decorated with Huichol art, at the head quarters of Todos Somos Mariposas in Ciudad de Mexico, before the earthquake of September 2017.
David J. Romero’s photographs are constructed scenarios that blur the boundaries between fiction and documentation.
Chromogenic print. Large-format analogue photograph. Tigerless but Hopeful series.
Model: Christina Vargas / Crown: Blake Mackay / Hair stylist: James Patrick at Studio MW / Make-up: Kelty Lewis / Camera operator : Bogdan Stoica / Digital camera documentation : Andy Long Hoang / Lighting assistant: Juan Saez
Archival inkjet print. Tigerless but Hopeful series. A photographic installation that draws upon one vision of Montréal’s history and geographical significance as seen through the eyes of the artist, who believes in magic and true love. Shot in eleven frames, each tableau represents a Saint in Montréal’s big-city mise-en-scene – stories and areas that relate to the first eleven years Romero spent living in Montréal.
Chromogenic print. Large-format analogue photograph. Tigerless but Hopeful series.
Model: Siena Angerillo, Nick Comilla, Fanon Kuyek/ Drawing: Christina Vargas / Stylist: Cecilia Rosel / Hair: James Patrick / Make-up: Kelty Lewis / Camara operator : Bogdan Stoica / Digital camera documentation : Andy Long Hoang / Lighting assistant: Juan Saez
In loving memory of Markie-Bear (1954-2011)
Chromogenic print. Large-format analogue photograph. Tigerless but Hopeful series.
Models: Elliot Cloutier and Ekosuei Eseosa / Food Stylist: Blake Mackay / Make up: Kelty Lewis / Hair: James Patrick / Stylist: Cecilia Rosell / Camera operator: Bogdan Stoica / Digital camera documentation: Andy Long Hoang / Lighting assitant: Juan Saez
Chromogenic print. Large-format analogue photograph. Tigerless but Hopeful series.
Models: Una Piercy, Chritina Vargas, Fanon Kuyek, Siena Angerillo, Lauren Smith, William Sgroi, Lau-Lau, Chloe Majlis / Food and flower stylist: Blake Mackay / Make up: Kelty Lewis / Hair: James Patrick / Stylist: Cecilia Rosell / Camera operator : Bogdan Stoica / Digital camera documentation : Andy Long Hoang / Lighting assistant: Juan Saez
Chromogenic print, medium-format analogue photograph. Tigerless but Hopeful series.
Chromogenic print. Medium format analogue photograph. Tigerless but Hopeful series.
Chromogenic prints. Medium format analogue photographs. Tigerless but Hopeful series.
Chromogenic print. Digital photograph. Tigerless but Hopeful series. Models: Laurence Fournier and David J. Romero.
Dana Dal Bo´s Chapter 2: Pool of Tears commissioned work for the 150th anniversary of Alice in Wonderland. (2015) Montreal, Quebec. In collaboration with the Lenny Trusler Children's Foundation, The International Motion Festival of Cyprus and the Pharaohs Art Foundation.
Ophelia was commissioned by Dana Dal Bo for her project "How to draw a girl drowning" 2010
Chromogenic print. Digital composite made out of large-format analogue photographs.
Ode series. Chromogenic print. Large-format analogue photograph.
Chromogenic print. Large-format analogue photograph.
Chromogenic print. Large-format analogue photograph.
Digital composite from large format analogue photographs. Archival inkjet print. Polymorphously Perverse Self-Portrait series.
Archival Inkjet print. Digital composite from large format analogue photographs. From the Polymorphously Perverse Self Portrait series
Digital composite. Polymorphously Perverse Self-Portrait series. Commissioned photograph by the Canadian Heritage Information Network.
Chromogenic print. Analogue photograph.
Chromogenic print. Digital collage
Chromogenic print. Digital photograph
Chromogenic print. Digital photograph
Silver print. Large format B&W photography
Chromogenic print. Digital photograph
Chromogenic print. Digital photograph
Chromogenic print. Digital photograph
Chromogenic print. Digital photograph
Chromogenic print. Digital photograph
Chromogenic print. Analogue photograph
These selection of photographs are a small part of a larger body of work from 2011 to the present day. To enquire about the entire series please contact the artist directly at: lordmariposa@gmail.com
Juliette en el Balcón ©️ David J. Romero, Cartagena de Indias, Colombia 2020
Model : Julieth Casto de León. Assisted by Camilo Rodriguez & José Eduardo Sierra Vega
Jesús de las Mariposas. ©️ David J. Romero, Ciudad de México 2016
Model : Alberto Cariv
Krystel ©️ David J. Romero, Montréal, Québec 2015.
Model : Krystel Marois
Red Pig Flower ©️ David J. Romero, Berlin, Germany, 2018.
Model : Red Pig Flower
Ali ©️ David J. Romero, Montréal, Québec 2015
Jonathan ©️ David J. Romero, Montréal, Québec 2015
Model : Jonathan Lemieux
Diego ©️ David J. Romero, Ciudad de México 2015
Model : Diego Dom. Assisted by Juan Jose Ávila & Ricardo Garduño
Diego ©️ David J. Romero, Ciudad de México 2015
Model : Diego Dom. Assisted by Juan Jose Ávila & Ricardo Garduño
Red ©️ David J. Romero, Montréal, Québec 2015
Model : Jey Feret. Assisted by Dayna Danger
Vu Laurence ©️ David J. Romero, Montréal, Québec 2015
Model : Laurence Tremblay-Vu
Tristan ©️ David J. Romero, Montréal, Québec 2015
Model: Tristan Ginger
Papillons de feu ©️ David J. Romero, Mexico City, 2015. Chromogenic print. 68 x 61 cm. Exhibited at the Museum of Modern Art of Mexico City, for the exhibition Mexico Vivo 2016. Model: Hugo Valton
Manifesto. Music by Ana Paola Santillán Alcocer, executed by Natalia Perez Turner at the Parque de Chapultepec, Mexico City, 2017.
Natalia Perez Turner at the Parque de Chapultepec, Mexico City, 2017.
Music by Ana Paola Santillán Alcocer, executed by Natalia Perez Turner at the Parque de Chapultepec, Mexico City, 2017.
Picnic at Parque de Chapultepec to talk about the mission of Todos Somos Mariposas. Special performance of Manifesto written for cello by Ana Paola Santillán Alcocer, played by Natalia Perez Turner. Fall, 2017. CDMX, Mexico.
Composed by Ana Paola Santillán Alcocer, Conducted by Alexandra Fol. for The Service Multimedia Performance.
In collaboration with Krystel Marois, Berlin, Germany 2011
SELECTED FILMOGRAPHY AVAILABLE ONLINE. to see other videos included in the CV, contact directly at lordmariposa@gmail.com
Workshops - now and then.
Interview with CBC Arts, November 2020. Shot by Filmmakers Thomas Szacka-Marier & Eka Tsostoria. Cover Girl Julieth León de Castro.
Studio in Mexico City fall/winter 2015, working on the piece Besando Mariposas, 2016 part of my exhibition To insects, Sensual Lust at Galeria Corsica, Puerto Vallarta, México, December 2016.
Getting ready for my first solo painting exhibition: To insects, Sensual Lust at Galeria Corsica, Puerto Vallarta, México. Mexico City 2015-2016. Photo by Lina Tiscareño.
Photo by Lina Tiscareño. Mexico City, 2015.
Potho by Lina Tiscareño, Mexico City, 2015.
(Left to right) Director and choreographer Troels Primdahl, myself (David J. Romero) and composer and musician, Anthime Miller after dying a thousand times, the night of my 34th winter. Neukölln, Berlin, Germany. February 2018.
(left to right) Troels Primdahl, David J. Romero, Anthime Miller and Claudia Livia.
New Years Eve traditions. David J. Romero and Caro Siegl. Berlin, Germany, New Years Eve 2017-2018.
Nahum Mantra artist from my homeland, musician and curator who collaborates as a Chair member of the Committee for the Cultural Utilization of Space (ITACCUS) and the International Astronautical Federation (IAF). Nahum is awesome! check out his social media here.
Étienne Ganjohian, script writer and director, visiting the studio on Plateau Mont-Royal, Montréal, Québec, 2018.
Étienne Ganjohian, script writer and director, live model session at the studio on Plateau, Mont-Royal. Montréal, Québec, 2018.
Étienne Ganjohian, script writer and director, live model session at the studio on Plateau, Mont-Royal. Montréal, Québec, 2018.
Étienne Ganjohian, script writer and director, live model session at the studio on Plateau, Mont-Royal. Montréal, Québec, 2018.
Stain glass workshop. Sherbrooke, Québec, 2012
École National de Cirque Montréal. Commission portraits by Sarah and Guilhem for Cirque du Soleil. Montréal, Québec, 2011.
Portrait by David Morris. École National de Cirque Montréal. Montréal, Québec, 2011
Studio in Montreal: Atelier des artistes. Montréal, Québec, 2011.
Tiger and I painting butterflies. Montréal, Québec, 2011
Traces of orange. Atelier des Artistes, Montréal, Québec, 2011.
Portrait by Tiger. Medium format analogue photograph. Atelier des Artistes, Montréal, Québec, 2011
Krystel & I. Medium format analogue photograph. Berlin, Germany 2010.
My first studio in Berlin, Germany 2010.
That time we were making a movie at Nikolai Makarov’s apartment with Scotty the Blue Bunny. Berlin, Germany, 2011.
Bondage Christ. Berlin, Germany 2011. Out-take from movie clip. Learning the art of shibari.
Portrait in front of Nikolai Makarov’s painting while making a movie in Berlin, Germany, 2011.
Grimes performing at a my show Inside the Altar at Paper Apartment Gallery, Montréal, Québec, 2010.
Aydin Matlabi, humanitarian photographer and artist Grimes, Inside the Altar, Paper Apartment Gallery, Montréal, Québec, 2010.
This is my friend Jo, she keeps me dreaming. Montebello, Autumn 2018
Jo in Montebello, Quebec, Autumn 2018
As above so is bellow. Montebello, Quebec, Autumn 2018
Empower LGBT impulsed by the Federación Mexicana de Empresarios LGBT (LGBT Mexican Chamber of Commerce), World Trade Center, Mexico City, 2017
Charlie dos veces López, sociólogo y activista. Empower 2017, Mexico City, 2017.
Rodrigo H. Moheno, co-funder of Mexico Vivo, David J. Romero, co-funder of Todos Somos Mariposas, Andrew Arriaga, glocal business developer and communication strategist, Lana Beblow, adviser for Todos Somos Mariposas at the event Empower LGBT 2017, World Trade Center, Mexico City, 2017.
Fherdinand, Zero Discrimination campaing by UN AIDS, Empower LGBT 2017, World Trade Center, Mexico City, 2017.
I have been visiting the Monarch Butterfly Biosphere since I was a kid. I have noticed their decline with my own eyes.
These are some of the images from the hibernation of 2014-2017 in El Rosario & Sierra Chincua region, in Michoacan, where the butterflies go.
(Bio) Diversidad, Arte y Ciencia
