Yet one similarity Rojas has noticed between these various forms of expression has to do with reduction. Her songwriting pares down the essence of a story to something that can be conveyed in minutes, just as the essence of form and line in her abstract visual compositions is reduced to an examination of the tension of balance.
However, though theoretically reductive, Rojas’ highly individualised visual language also represents an escalation. Each composition proliferates from a personal totemic form unrooted to figurative meaning, but evocative of the shape of a drop of water or a mountain. The form has evolved over time, from an abstract shape that Rojas instinctively drew to something concrete she began noticing in her everyday visual environment.
Says Rojas, 'The more I drew it, and meditated on the shape, the more I saw it everywhere I looked. I found it in the figure, in nature, in water, in land, in animals.'
In her most recent exhibition, Egret, at Kavi Gupta in Chicago, Rojas expanded her relationship with this form. She mobilised it as both a metaphysical anchor and an aesthetic starting point for more than 100 new abstract works, including one hundred 8×10-inch drawings, nine new large-scale oil paintings, and several new sculptural works. This visually stunning and conceptually rigorous body of work continues Rojas’ ongoing examination of the human will towards story, an instinct marked by our search for narrative relationships with images, even when they are essentially abstract.
Rojas earned her BFA from the Rhode Island School of Design, and her MFA from the School of the Art Institute of Chicago. Her work is in the permanent collections of the Whitney Museum of American Art, NY; Walker Art Centre, Minneapolis; Denver Art Museum; American Museum of the Moving Image, NY; and many others. She lives and works in San Francisco.
Text courtesy Kavi Gupta.