In today's interview, we delve into the fearless practice of Mexican artist Romeo Gómez López, who connects elements of popular culture, skillfully weaving religion, political figures, and science fiction into his thought-provoking works. Through a unique and critical perspective, López challenges the conservative nature of contemporary art, questioning established norms and conventions.

When looking at his practice, we encounter a path of exploration, weaving sexuality, breaking barriers, and challenging the concept of compulsory heterosexuality. Leaning on the elements of provocativeness and humor through a varied means of expression, López delves into libidinal values, tapping into their potent power as generators of sensibility.

In his art, Romeo Gómez López encourages reflection, questioning, and understanding, inspiring us to embrace the intricacies of human existence.

Artist statement

Romeo Gómez López (b. 1991, Mexico City, MX) uses various elements of mass culture, such as religion, political figures and science fiction, to critique the conservative nature of the contemporary art . His work challenges notions of compulsory heterosexuality in art with a vision on sexuality using humor and pornographic imagination to show a resistant alternative. He focuses on libidinal values and their provocative power as generators of sensibility.

Let's begin with you telling us a bit about yourself. Who is Romeo Gómez López?

I am a middle-class, gay, Mexican artist.

Your work challenges the conservative nature of contemporary art by incorporating elements of mass culture, such as religion, political figures, and science fiction. Could you share more about your artistic intentions and the message you aim to convey through your art?

Making art is tied to building your own identity. When you come from a conservative family in a fairly conservative country like Mexico and you know you are gay from an early age, you go through life with an alias or a doppelgänger; you build yourself up to please everyone with the image they expect from you. Once you come out and break free, you need to rebuild your true personality and your real self, and that is an act of creation, it is similar to the process of making art, a continuing process of what you want to do.

How do you utilize humor and the power of the pornographic imagination to present a resistant alternative in your exploration of sexuality? What role does humor play in addressing provocative themes in your artwork?

I do believe that ideas that are not so often presented in artistic spaces, such as the bluntly sexual desire, need a sort of “humoristic-lubricant” to enter people’s minds. I have found it to be very effective.

Your focus on libidinal values and their provocative power as generators of sensibility is central to your artistic practice. Could you elaborate on how you navigate and express these values in your artwork?

Every physical object in the world has a libidinal value in our minds, either highly libidinal or not at all. What I do is make it more obvious. I accentuate the lack of sexiness to show the boredom of conservative principles.

What can you tell us about your submitted work Cold-Pac (AMLO)?

The idea comes from the Philip K. Dick novel “Ubik” where the concept of cold-pac is presented. Cold-Pac consists of freezing one’s body after death and connecting it to a computer in order to be able to still communicate with the living via a headset. Of course, only the very rich and powerful would be able to afford it. On the other hand, currently in Mexico there has been an outcry from the far right worried that the current president (Andres Manuel Lopez Obrador) is intending to stay in power longer than the traditional six-year period. Nevertheless, with this work, I comment on an even darker and nihilistic idea: never being able to retire, not even after death.

The idea of working forever postmortem. It seems that a lot of new technologies are more often directed towards productivity than leisure or pleasure. To me, that is tiresome and should be highlighted.

As a co-founder of Salón Silicón, a project that supports female artists and members of the LGBTQ+ community, can you discuss the importance of creating inclusive spaces in the art world? How does your involvement in this project inform your own artistic practice?

Inclusivity should be natural and a given. Nevertheless, since it is not, it should be procured in a project. The more you consciously do it the more natural it will come. My experience with Salón Silicón made me work from my own social experience as a middle-class gay Mexican artist.

In your opinion, what is the power of social and political art?

It depends on the audience and their own personal interests and concerns. I believe the power of social and political art can be whatever you want it to be as long as you can reach your audience's concerns.

Your upcoming projects include both a group exhibition and a solo exhibition. Could you give us a glimpse into what we can expect from these exhibitions and the themes you will be exploring?

Later this month I will participate in a group exhibition in the Museo Anahuacalli in Mexico City, the show highlights contemporary artists' relation to trauma and the body. The traumatic experience of having a body is something I always like to reflect on in my work. In the fall I will open my solo exhibition at Museo de la Ciudad in Queretaro, MX.

In your artistic journey, what are some of the key challenges you have faced, and how have they shaped your growth as an artist?

I would have to say the art world can be a very harsh and competitive environment, but you do find some wonderful people and you learn to stick with them. But the most important thing I’ve tried to practice is focusing on my work and just continuing straight on.

What message would you like to leave our readers?

I could advise the importance of self-reflection when creating, always questioning if you are creating what you want to show the world. One of the most important things in the arts is not our intentions behind but that we are able to communicate them.

Cover Image:

Marcha by Romeo Gómez López. Image courtesy of Romeo Gómez López.