HOW DOES THE PILL KNOW WHERE IT HURTS?
NICOLÁS ROMERO – How does the pill know where it hurts?
Oil and Acrylic on linen canvas
93 x 108,5 cm, 2021
Nicolás Romero (Buenos Aires, 1985) began twenty years ago signing Ever and doing graffiti in the streets of his native Buenos Aires, a city that was living the hangover of a military dictatorship that had lasted eight years and that at that time understood street art as an expression of freedom. He moved away from graffiti to start developing a mural work with which he experiments and plays with its symbolic charge in his confrontation with public space.
At present, Nicolás is developing his work around the "Dead Natures", with which through the union of elements he has found a way to use the image as a means of social reflection and anthropological research. He works through traces that he finds in his most immediate context, the result of the social network and symbols born from the coexistence of social, cultural, and economic factors. From soft drink bottles to religious prints, political symbols, contemporary icons or something as apparently innocent as fruits and vegetables are part of these compositions that he uses as a bridge to talk about more complex realities.
Romero's training in painting and drawing began in 1999 with Ariel Olivetti and between 2007 and 2008 he studied at the Rojas Cultural Center. In 2014 he was selected for the Facebook artists' program and from 2019 he participated in the study method "Work Clinic" with the artist Diana Aisenberg. He has had solo exhibitions at the gallery The Diogenes Club in Los Angeles, at Varsi Gallery in Rome, Libertad Gallery in Queretaro or Dinámica Gallery in Buenos Aires, besides having participated in other group shows in France, Italy, Netherlands, South Africa, Austria, Australia, Mexico, Spain, and the United States. His work has been selected in cultural institutions such as the Amalita Fortabat Museum and Palais de Glace in Buenos Aires, the Macro Museum in the city of Rosario, or the Biennial of urban interventions in the CCEC and the Caraffa Museum in Córdoba, Argentina.