Gericault De La Rose

BIO
Gericault De La Rose is a queer trans Filipinx, multidisciplinary artist, and educator. While developing her art practice, she worked as a Co-curator of Philippine Objects at the Field Museum of Natural History where she organized a series of monthly events called Pamanang Pinoy using the objects within the collection as conduits for community discussion. After graduating with a BFA with an emphasis in Art History from the School of the Art Institute of Chicago, she formed an artist collective, Export Quality, together with other Queer Filipinx alumni. De La Rose has also showcased her work in group shows in cities like Chicago, Los Angeles, Johnson City, New York, and Toronto. De La Rose attended the ACRE residency in Steuben, Wisconsin and the HATCH artist residency for the Chicago Artist Coalition in 2020. Most recently in 2022, she received the San Francisco Foundation’s Jack K. and Gertrude Murphy Award and received her MFA from UC Berkeley in 2023.

ARTIST STATEMENT
Within her work, De La Rose explores how her culture is consumed, digested, and regurgitated. Particularly concerned with how the Philippines’ colonial trauma is metabolized, she seeks to negotiate the formation of a shared national and ethnic identity within the archipelago and the diaspora while also remaining critical of the tendency to homogenize and over-romanticize her ancestry. In a global political landscape where misinformation and historical revisionism is broadcasted in media, De La Rose thinks through how delusion can function as means to rethink, reimagine, and reconstruct oneself in society. 

Primarily engaged in performance art, De La Rose plays with histories of spectacles and practices of intimacy in order to regain a sense of bodily autonomy. She draws upon Philippine folk-lore and cultural traditions, interweaving them with art historical painting compositions and sculptural tropes to form her work. Within a “post”-colonial world that perpetually reinforces the collective amnesia of Queer, Trans, and Indigenous narratives, she intentionally creates pieces positioned to disrupt a Eurocentric Art Historical Canon.