Appendix: Sola, Pero Bien Acompañada / 2006
the art of CeLia herrera roDríguez
As Chicana/os, we are a displaced people of many nations of
origin, living in diaspora in the United States. Our mestizaje—
perhaps more a political idea rather than a fact of biology—
was forced upon us. How do we recover from the shock of
displacement, the loss of Indigenous memory? How do we
rekindle the home- fire? The painting is the record along the
road. It allows me to think, meditate, to assume the posture
of ceremony, to pay attention in that deep way. The door
opens to us, just by spending time looking at the images, the
symbols. And we begin to understand. These paintings and
installations are a conceptual language, a suggestion of how
to find our way back to home.
Celia Herrera Rodríguez
Celia Herrera’s1 work, based in the language of the symbol, is a di-
rected gesture toward the recuperation of a history, a way of knowing,
lost to Xicanos and Xicanas. It is epitomized in Un rezo en cuatro cami-
nos (A prayer on four roads), the centerpiece of “Sola, Pero Bien Acom-
pañada,” her solo exhibition at the C. N. Gorman Museum in 2006.2 Its
title invokes the four directions, the four paths to knowing. In many
ways the work, which was originally presented at the third Bienal Inter-
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