Conceiving existence as an act of memory; experiencing identity as a perpetual shedding of skins, facades and costumes. The skin I inhabit is borrowed. The skins that I´ve inhabited were lived in before me. Nothing belongs to me and the clothes that dress us are provisional, although that movie that shows me to others makes us believe that I can only be that which is seen, and not a wild otherness in motion. From that dispossession of those clothes that have stopped exhibiting us (but not inhabiting us), Alfredo Romero's creative imagination unfolds. What you see is not all that exists - it seems to be a whisper in the air.

 

An inherent fiction to a certain principle of reality makes life seem like something linear, on a single plane. Its supposed "natural essence" depends, however, on its lack of movement and perspective. When life begins to turn, when it is observed from different perspectives, the conclusion arises that it can also be in other forms, and that in fact it has been. The initially flat and linear perception fades and a sensuality of layers of makeup and clothing is revealed that, superimposed and combined, invent us before the world. Our gaze is the superposition of those skins that inhabit us.

 

Romero Campos distances himself from the usual notion of art as magic, and introduces us to this new series as the result of an alternate exercise, the exercise of observing time. His intervention on walls and street paintings now put into action, pose a bold allegory about our own lives in times of confinement and pandemic.

DESPIEL constitutes an honest provocation to vacate life, delving into its layers, densities, and textures. To review the skin that we have given ourselves, that they have given us; of inventing new clothes - I think I hear my friend the artist say:

“What will be left of us after this? What version of ourselves and of life will we keep? We will have to live in our own skin to find out.”