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    Found Objects Hold Puerto Rican Lineage in Adrián Viajero Román’s Layered Portraits

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    “Aguas De Libertad” (2012), graphite on wood, cardboard, pastel, 36 x 24 inches. All images courtesy of Adrián Viajero Román, shared with permission

    Found Objects Hold Puerto Rican Lineage in Adrián Viajero Román’s Layered Portraits

    August 13, 2025

    Art

    Grace Ebert

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    “The objects I use often serve as memory keepers,” says Adrián Viajero Román. “Sometimes they find me—objects with history, decay, or presence—and I build a piece around them. Other times, I begin with a story I want to tell and seek materials that can hold that narrative.”

    Román finds an intuitive balance between object and idea, allowing each to influence the other as he melds two-dimensional portraiture with three-dimensional forms like wooden frames, religious iconography, frayed chicken wire, and even an empty can of Goya black beans. These found—and seemingly mundane—items hold stories that reflect the artist’s ongoing interests: memory, migration, and the genealogies we can trace through the objects that accompany us or that we leave behind.

    “Picking Up The Pieces” (2018), portrait of Maria Kerialys Aldea de Jesus of Las Piedras, Puerto Rico, graphite on wood, terry cloth, plastic bottles, newspaper, 24 x 18 inches

    Based between Brooklyn, New Jersey, and Puerto Rico, Román frequently reflects on the experience of the Puerto Rican diaspora and the bifurcated way of living that can emerge when people leave their homelands. He’s deeply interested in the correlations between belonging and displacement and how preserving the past is essential to telling honest stories about ourselves and communities.

    The artist’s works often feature children, who appear as both innocent and supremely knowing. Staring at the viewer with serious eyes, these youthful protagonists might be steadfastly engaged in a game or otherwise posed in a way that suggests impermanence. The child in “Picking Up The Pieces,” for example, grasps a white terrycloth towel in her pudgy hand while sitting atop crunched plastic bottles, a precarious seat that will only hold for so long. Román shares:

    The children become physical, dimensional presences, symbols of possibility and resilience that inhabit our space as reminders of hope and imagination… I often depict children because they carry both the innocence of potential and the clarity of truth. In these works, the children aren’t passive. They’re dreaming, resisting, surviving. They become living monuments, carrying the weight of history while pointing us toward the future.

    In his solo exhibition titled Archivos Vivos at The National Puerto Rican Museum in Chicago, the artist presents his mixed-media sculptures and installations as a sort of journey through Puerto Rican identity. As its name suggests, archival imagery and objects appear frequently to illustrate the various influences on this collective experience.

    “Niño Santo” (2011), graphite and charcoal on wood, window frame, wire, rope, iron claw foot

    As part of this exhibition, Román facilitated a pair of workshops that invited community members to reflect on their own experiences and encounters with Immigration and Customs Enforcement and then create either a paper airplane or boat. Participants also responded to a more profound, enduring question: “What does citizenship mean—especially for Puerto Ricans, whose U.S. citizenship was imposed, not chosen?”

    “This workshop came at a time of heightened urgency,” Román says, noting that just days before the gatherings, federal agents visited the museum unannounced. “It was a chilling reminder that our communities are still being surveilled, targeted, and threatened. This is why we must keep telling our stories—why we gather in these spaces to remember, create, and resist.”

    Archivos Vivos is on view through January 17, 2026. A new installation in his Caja De Memoria Viva series will open this October at the National Portrait Gallery, with a replica to follow for Puro Ritmo at the Smithsonian Latino American Museum in April. Until then, keep up with the artist’s work on his website and Instagram.

    “Mi Caridad” (2010), charcoal and graphite on wood, vintage objects (trunk, photos, toys, washboard, and books), 24 x 36 x 24 inches

    “Caja De Memoria Viva II, Sobrevivientes: Digna Quiles” (2018), charcoal on wood, 48 x 49 x 48 inches

    Interior detail of “Caja De Memoria Viva II, Sobrevivientes: Digna Quiles” (2018), charcoal on wood, 48 x 49 x 48 inches

    “Si Yo Sueño,” graphite on wood, vintage suitcase, wood frame, book, twine, wood toy, 17 x 29 x 6 inches

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      Art

      #animals
      #murals
      #public art
      #Puerto Rico
      #street art

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      Grace Ebert

      Red Tail Hawk in Humacao, November 2018. Photo by Edgardo Santiago, image courtesy of Taller 2C1, shared with permission
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      #animals
      #murals
      #public art
      #Puerto Rico
      #street art

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