Abstract
ABSTRACTThis paper is a personal reflection by a Roma artist upon the mutual influence of Roma social relations and Roma visual culture. Strategies of art making are considered via analyses of contemporary Roma art works. It is suggested that historic marginalisation and continuing discrimination have determined the contingent nature of the Roma aesthetic resulting in keen facilities for adaptation and obscured visibility. Roma artefacts are shown to employ these resistant characteristics of Roma visuality to convey social, cultural, artistic and political agency via visual and performative means. The conclusion calls for a reconceptualisation of Roma visibilities so that we as Roma might forge new political unities and new forms of politics to more effectively challenge embedded Romaphobia.
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