Untitled
Acrylic and charcoal on paper
Diptych 37 x 55 in
(37 x 27 in ea)
2000

Untitled
Acrylic and charcoal on paper
First draw
37 x 27 in
2000

Untitled
Acrylic and charcoal on paper
Second draw
37 x 27 in
2000

Elixir
Oil on canvas
31 in diameter
1997

Beginning
Encaustic and charcoal on canvas
43 x 53 in
2000

Passion
Encaustic on canvas
51 x 43 in
2001

Energy II
Acrylic and charcoal on canvas
55 x 43 in
2003

The four seasons
Oil on canvas
Polyptych of eight panels 78 x 110 in
(19 x 27 in ea)
2000

The four seasons
Oil on canvas
First lower panel (Summer)
19 x 27 in
2000

The four seasons
Oil on canvas
First upper panel (Summer)
19 x 27 in
2000

The four seasons
Oil on canvas
Second lower panel (Spring)
19 x 27 in
2000

The four seasons
Oil on canvas
Second upper panel (Spring)
19 x 27 in
2000

The four seasons
Oil on canvas
Third lower panel (Autumn)
19 x 27 in
2000

The four seasons
Oil on canvas
Third upper panel (Autumn)
19 x 27 in
2000

The four seasons
Oil on canvas
Fourth upper panel (Winter)
19 x 27 in
2000

The four seasons
Oil on canvas
Fourth lower panel (Winter)
19 x 27 in
2000

Rose
Oil and charcoal on canvas
49 x 55 in
2003

Heroin
Encaustic and charcoal on canvas
74 x 59 in
2003

Coccoon
Oil on wood
23 x 19 in
2002

Heart
Oil on canvas
Tryptych 51 x 94 in (51 x 31 in ea)
2003

Heart
Oil on canvas
First panel 51 x 31 in
2003

Heart
Oil on canvas
Second panel 51 x 31 in
2003

Heart
Oil on canvas
First panel 51 x 31 in
2003

Untitled
Charcoal on paper
Tryptych 25 x 59 in (25 x 19 in ea)
2000

Untitled
Second draw
25 x 19 in
2000

Untitled
First draw
25 x 19 in
2000

Untitled
Third draw
25 x 19 in
2000

Untitled
Charcoal on paper
37 x 27 in
1996

Untitled
Charcoal on paper
37 x 27 in
2002

Untitled
Charcoal on paper
37 x 27 in
2002

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HIDE

Vital Force

| 1996 - 2003

“Silence, earth will give birth to a tree”. (Vicente Huidobro, Altazor-Song I)

Heroin because she said NO and stood drinking amongst gardenias. In the folds of the first button, really. The truth did not come unwrapped in radiant petals, mirrors of dew, iridescent leaves or any other surface of pores with luminous reflections. It is in the cradle of sepal where the courtship made by María José Romero to oil is hidden. As a kind of botanical cloister, the female organ, pistil topped by a stylus and an inevitable stigma, injects the ink into the cell, as if it were the exemplary micro of the cosmos, with a paintbrush, fairies famous for their transparent wings. The enigma is extracted from the body at the level of a butterfly watching inverted eyes with closed lids.

The harvest begins in black and opens the fan of inventoried landscape.
This landscape, however, is not static, it is a body that contracts and expands, convicts and acquits, collects and disseminates, swings with discipline to rhythmic spaces. It is important to kick the seed in fertile ground with a slight swing of the knee.

The work María José Romero creates knows no stillness.

Her speech of splendid vitality crowns movement, untamed because it is ungraspable, rescued and framed in its flow and of its constant, unique agility. It is a metamorphic study succeeding in kind appreciation of chaos of which naturally its organic nature derives, preventing any attempt at a perfectionist paralysis because (he who embraces a cocoon knows why, besieging, unraveling) perfection like that is not just a lie it is an insult of the inert. Movement, however, and its parade of folds, is life.
 

Maité Iracheta
 

City of New York, 2003

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