"The Justice Bell" is an installation piece and the first collaborative work between sibling artists Alina Rojo and Damian Rojo. The monotone, silkscreened works commemorate the 100th anniversary of the ratification of the 19th amendment. Justice Bell is also known as the Women's Liberty Bell and the Suffrage Bell. Its inscription reads: Establish Justice. Proclaim Liberty Throughout all the Land unto all inhabitants. 

I was told to steer away from embellishment and the feminine...little do they know that the more flowery my work -the more distorted the theme. 

Exhibited at The Coral Gables Museum, Artistic License, 2013

Gallery 91, Artistic License, Miami Design District, 2016

Seventh All-Media Juried Biennial, 2015

Pachamama Exhibit-FIU Library

digital Collections Center at FIU Libraries

Celebrating #EarthDay2020 with the FIU Special Collections and University Archives "Pachamama" virtual exhibit due to Pandemic.

Presented by The National League of American Pen Women Coral Gables Branch, NLAPW,In

The COVID pandemic and the isolation that came with it could either drive us to insanity or could make us reach for new heights. In collaboration with Aurora Molina and Miami-Dade teachers, we united to create "Threading Thoughts".

to provide workshops open to all on textiles and fibers.

UPDATE-  On July 2020 I cofounded FIBER ARTISTS MIAMI ASSOCIATION https://www.fiberartists-miamiassociation.com along with Aurora Molina

Evelyn Politzer and a group of artists 

Exhibited "Home Sweet Home", Harvest Projects, January-March 2021

"This is an exhibition by a group of local female artists who will share artworks that find meaning in the experience of confinement at home."At the time these pieces were created we were confined to home so we created our own yarn from white tee shirt and dyed the fabrics using natural elements and things found around the home.

Arts in education workshops, exhibitions,  and travel residencies aim to reclaim history, memory, and culture that value the ancient textile arts.  

Art Education

2021 Innovator Grant, OBEM

The CAMP

Gallery

The Sagamore

Miami Art Week

Biosuits

Biosuits, 2021, is on view at  SOFAs botanical and sculpture garden in Palm Beach. This is a site-specific, collaborative (Shelly Mc Coy and Alina Rodriguez Rojo), and interactive series of four living sculptures that address environmental issues and the coexistence between people and nature.

Explore

Biosuits, 2021, 58 x 34 in. Concrete Fibers, Four Arts Museum Sculpture Garden, Palm Beach

Biosuits, 2021, 58 x 34 in. Concrete Fibers Four Arts Museum Sculpture Garden, Palm Beach

Biosuits, 2021, 58 x 34 in. Concrete Fibers Four Arts Museum Sculpture Garden, Palm Beach

Biosuits is a collaborative project between Shelly McCoy and Alina Rodriguez Rojo

High Wire Act

 High Wire Act Quilt Series

This series of art quilts pay tribute to Astoria Gibbons, Maud Wagner, and the fearless tattoo women of the 1900s sideshow circus scene. Circus women were at the forefront of the women's liberation movement. Gibbons and Wagner broke every 19th century pre-conception of the "pure" woman and fearlessly controlled their bodies and destiny.

In Western culture, the tattoo has always been a sign of subversion, particularly for women. Tattoos follow popular fashion, folk art, graphic arts, and fine art trends. Tattoos depicted on Wagner and Gibbon's skin coincide with popular 19th-century taste but do not accurately document their ink designs.

The mirror-like background surface on the pieces catches the distorted reflection of the audience. Reflection is a memory process that disorients our spatial perception and lets us see ourselves through the eyes of others. These mirrored portraits of tattooed circus women are part of a larger body of work titled "High Wire Act".

COLLECTION COMING SOON

Alina Rodriguez-Rojo, Side Show: Lady Maud, 2021, 24 x 24, quilt, embroidery and sublimation on vinyl Private collection

Side Show, Lady Gibbons, 24 x 24 inch, quilt, embroidery and sublimation on vinyl

Side Show-The Gaze, 2021, Quilt, applique, sublimation and embroidery on Silver Mirrored

Side Show- 2021, Quilt, applique, sublimation and embroidery on Silver Mirrored

The story of textiles is rooted in gender issues because of their association with femininity and domesticity. The stitch became the medium of choice for political banners during the Women's Suffrage Movement and has served political advocacy for centuries. The women of the Suffrage Movement enlisted the Barnum & Bailey Circus to help advocate for the votes. All the women in the ranks of the Barnum & Bailey circus vowed to support the ballot. The highly empowered women performers were the first women to achieve wage parity with their male counterparts. The female circus performers became some of the most outspoken members of the suffrage movement in 1912. The performers were allowed to campaign for the suffrage movement wherever they toured across America. "There is no class of women who show better than they have a right to vote than the circus women, who twice a day prove that they have the courage and endurance of men..." Elizabeth Cook, NY Times, 1912. Circus women were at the forefront of the women's liberation movement; however, they can not be found on Wikipedia and dwell in historical obscurity compared to their male counterparts. Circus women have been the subject of many artists; Alexander Calder immortalized the female performer May Wirth in his Circe Calder. In the 1880s, Edgar Degas sketched and painted the portrait of Miss La La at the Cirque Fernando. Marc Chagall, Henry Matisse, Fernando Botero, and most recently Cindy Sherman, have used the circus to express the unconscious self. 

Justice Bell was the springboard to this current work in textiles that explores female aerialists from a bygone era, their costumes (sometimes stitched by them), and the implications for today's women. I am enamored with the circus costumes from the late 1800s to the 1960s. The evolution of costume design, the science behind apparel design, the disappearing corset, and the invention of the leotard in 1879 fascinate me. These provide me a ticket to a historical past that informs my present.   Why were these women the big stars in the circus but are nameless in written and accounted history?

High Wire Act pays tribute to these courageous women of the circus and is used as a symbol to bind modern women to the highest form of funambulism, the tight rope. Just like an aerialist performance on a tight rope, women perform a delicate balancing act. The faceless, see through figures appear from circus like environments real and imagined. Figures with no color, race or facially recognized features hang on a tight rope. A precarious and suspenseful balancing act that involves accomplishing a large number of tasks at the same time.

High Wire Act, Alina Rodriguez- Rojo, 2021-2022, 61 x 53 inches, textiles, embroidery, applique on 100% linen and silk, sequin

2020

pieces can be back lit 

Backlited

High Wire Act, Alina Rodriguez- Rojo, 2021-2022, 61 x 53 inches, textiles, embroidery, applique on 100% linen and silk, sequin

2020

Piece is backlighted

2021-22

High Wire Act

2021-22

backlighted

2021-22

On View  JUNE 30 – SEPT 4, 2022

Women Pulling at the Threads of Social Discourse

A Collaboration Between MoCA Westport, The CAMP Gallery and FAMA

Exposing Social and Cultural Vulnerabilities in Women’s Rights, Past and Present

The exhibition was curated by Melanie Prapopoulos, Maria Gabriela Di Giammarco, and Mario Andres Rodriguez of The CAMP Gallery, with locations in both Miami, Florida and Westport, Connecticut

Views from the CAMP show 202 (bottom right-top left-MOCA 2022

Women Pulling at the Threads of Social Discourse

A Collaboration Between MoCA Westport, The CAMP Gallery and FAMA

Exposing Social and Cultural Vulnerabilities in Women’s Rights, Past and Present

Alina Rodriguez-Rojo, "Stacey", 2022, 40 x 60, Textiles, embroidery, applique on 100% linen and

100% silk, sequin.

In memory of Stacey de laGrana