This year, my friend passed by the billboard “Beyond the Horizon” (2024–25) by Roma artist Małgorzata Mirga-Tas, part of her On the Journey (2024) series. Displayed on a billboard along 18th Street near the High Line in Manhattan, the work imbued her with pride for her Roma heritage. As someone who has lived in New York for over a decade, witnessing Roma artists receive such visibility is incredibly rare, prompting me to ensure I would see it.
My earliest encounters with art were rooted in a lack of institutional spaces such as museums or theaters. Growing up in a small Romanian town, my relationship with art was abstract—an expression of my longing for beauty and hope amid a landscape colored by stigma and hostility toward “Gypsies,” who are often regarded as second-class citizens. Properly termed Roma, this community numbers around 10 to 12 million in Europe, with millions more in North America. As citizens of numerous countries, the Roma remain one of the most marginalized and overlooked ethnic groups globally, without a homeland of their own.
Despite having lived among other Europeans for centuries, Roma people continue to be regarded as outsiders. They have historically contributed to the arts and entertainment but seldom get acknowledged for their heritage. Sadly, the more successful an artist becomes, the less their background tends to be recognized. The stigma surrounding Roma identity often forces many to conceal their heritage to avoid discrimination, a fear I experienced for many years.
Today, mainstream American and European society largely overlooks Roma art, making it difficult to find representation in art collections or exhibitions. Yet, a vibrant community of Roma artists is blossoming, spurred on by dedicated institutions aimed at promoting Roma culture, including ERIAC in Berlin and networks of emerging artists and scholars. “The Roma art scene has evolved significantly over the last few decades, particularly in the last ten years,” noted Isabel Raabe, a Berlin-based curator and co-founder of RomArchive – Digital Archive of the Roma. “Increased visibility is evident, with Roma artists now participating in almost all international biennials and art festivals.”
Below is a selection of contemporary Roma visual artists whose work is finally gaining the recognition it rightfully deserves.
Małgorzata Mirga-Tas
Utilizing recycled fabrics from her community, Mirga-Tas reinvents iconic drawings and paintings, alongside family photos, to create vibrant characters that resonate with universal themes such as community, friendship, and motherhood. For instance, “Daj he čhaworo” (Mother with Child, 2022) illustrates the tender moment of a child resting on their mother’s lap, her protective embrace cradling his head.
Her artwork transports viewers into a realm of imagination by narrating Roma stories with dignity and optimism. For example, after encountering Jacques Callot’s 17th-century engravings, “Les Bohemiens,” which portray Roma as hazardous wanderers, she instead envisioned an empowering narrative—an impetus for her series On the Journey (2024).
Mirga-Tas’s choice of materials further drives her message home: the second-hand garments breathe new life much like her representation of individuals generally seen as second-class citizens compels viewers to appreciate their humanity.
Ceijia Stojka
Ceijia Stojka (1933–2013), another international Roma artist whose work has graced New York, is well-known as a Holocaust survivor. On May 23, 2023, the Austrian Cultural Forum New York commemorated her life with the exhibition, What Should I be Afraid of? Roma Artist Ceijia Stojka.
Stojka’s youth unfolded amidst the tragic events of the Porajmos, which refers to the “devouring,” the Romani term for the Holocaust, during which she lost family members. Those who survive such trauma often detach from their memories, yet late in life, Stojka began documenting them, producing a multitude of paintings and drawings that highlight a lesser-known facet of the Holocaust: the estimated half million Roma who perished. She conveys this through the dispassionate lens of a witness yet imbues her work with the nuances recognizable only to a survivor.
For example, in “Liberation of Bergen-Belsen” (1993), she employs pale yellow to illuminate a memory while maintaining a sense of distance from the horrors of her past.
Stojka’s works vary from stark representations of unimaginable suffering, often in black and white, to serene depictions of life before the Holocaust, like “Untitled” (1993), which evokes a vibrant existence.
Highlighting her sedentary origins, she depicts a lifestyle intrinsic to our culture that is less common today, showcasing nature in an enchanting manner. A caravan adorned with elegant curtains takes center stage, seamlessly interwoven with the surrounding environment and wildlife.
Stojka’s memory of the beauty of her early years remains unyielding, even against the backdrop of Nazi efforts to erase her past.
Damian Le Bas and Delaine Le Bas
The quest for recognition in the Roma art world owes much to the pioneering endeavors of Damian Le Bas (1963–2017) and his wife, Delaine Le Bas (born 1965). Trained at the Royal College of Art and St. Martin’s School of Art, they voiced their concerns at the intersection of art and political activism. In 2007, both participated in the Paradise Lost exhibition, a landmark in the history of Roma art at the 52nd Venice Biennale.
Damian and Delaine’s work, while sharing common themes, explores the relationship between the Roma and concepts of space and power. Through innovative cartography, Damian literally placed Roma on maps, redefining the geopolitical landscape and asserting their agency. His involvement with the Gypsy Dada movement propelled artistic expressions aimed at countering anti-Roma sentiment, shedding light on their resistance and resilience.
Delaine shines a light on representation issues and the struggle for agency, often expressing her dual experience of being both Roma and female, scrutinizing the gendered aspects of marginalization.
Nominated for the prestigious Turner Prize in 2024, Delaine continues to honor the artistic legacy of her late husband, as well as their son, Damian James Le Bas, who is a writer and artist themselves.
Gabi Jiménez
Born in 1964, Gabi Jiménez is a French painter whose expressive, satirical pieces critique the discrimination faced by Roma people in France. His vibrant works often carry a political undertone, depicting the absurdity and injustice of racism. One of his powerful pieces, “Expulsions” (2008), visually conveys societal unrest, showcasing Roma being forcibly evicted from their camps.
His graffiti-like strokes, reminiscent of Keith Haring, draw from the gritty aesthetics of New York’s subway art scene. In 2013, the French state acquired two of his works titled “Le Grand Paris” (undated). In recognition of his activism through art, Jiménez was awarded the Painting and Visual Arts prize from Spain’s Ministry of Culture in 2014.
One striking work is his Cubist-inspired portrait of Raymond Gureme, a symbol of Roma resistance during the Holocaust. Another notable piece, “Barrio Gitano” (undated), portrays an outdoor clothesline seen in many European villages, where a pair of pants hanging upside-down bears the words “mishto attitude,” a phrase that resonates within both Roma and non-Roma communities.
Along with Damian Le Bas, Jiménez showcased at the 2007 Venice Biennale Roma Pavilion, and they co-founded the “Gypsy Dada” movement.
Farija Mehmeti
Encouraged by American writer and Roma activist Paul Polansky, self-taught artist Farija Mehmeti focuses on painting portraits of Roma women, a demographic historically rendered in exotic stereotypes by non-Roma male artists. With mentorship from her brother, Bajram Mehmeti, also a painter, she has cultivated her artistic voice. Born in 1978 in a Kosovo village, she had limited formal education—most Roma women in Eastern Europe today never graduate beyond primary school. Mehmeti’s art seeks to illuminate their lives, emotions, and struggles against inequality.
Even though each portrayed woman in Mehmeti’s works is given an individual representation, their expressions and features often appear similar, reflecting the commonality of their existence. However, their outfits—modern yet conservative—reveal a bold identity, highlighting the juxtaposition of visibility and invisibility within Roma culture.
The RomaMoMA library showcased 39 of Mehmeti’s portraits at the National Library of Kosovo, capturing the collective identity of Roma women. Her decision to depict them in traditional attire with vibrant patterns crafts a narrative that positions Roma women on their own terms, celebrating their uniqueness.
Daniel Baker
Daniel Baker holds a significant position as an artist and scholar in the Roma art community. Based in London, he is originally from Kent, England, and possesses a doctorate in Roma aesthetics from the Royal College of Art. His work assumes multiple roles, functioning as an artist, curator, and theorist.
For me, as a Roma woman grappling with internalized stigma that has influenced my identity, his use of mirrors and reflective surfaces resonates deeply with overarching themes of Roma self-representation, visibility, and marginalization. These reflective surfaces create an immersive experience for the viewer, enabling exploration of stereotypes, questioning existing narratives about Roma, and creating space for new stories.
His reflective signs stating “No Entry” and “No Travellers” highlight the discrimination faced by the Roma community. Contrary to the romanticized image of the Roma as free nomads, their movement is strictly monitored and regulated. These signs serve as grim reminders of the reality that disallows Roma to roam freely while they are unfairly depicted as rule-breakers.
Through mirrors, Baker writes the names of various Roma subgroups, a crucial identifier of their identities. Under the vast umbrella of “Roma,” distinct subgroups like “sinti,” “kale,” and “romanichal” exist, each with unique traditions and lifestyles.
Manolo GĂłmez Romero
Joining his wife Joanna Artigas, Manolo Gómez Romero integrated into her family’s artistic legacy in ceramics, with strong influences from renowned artists like Pablo Picasso and Joan Miró. Born in Spain in 1967, he was raised amidst flamenco, yet his true exploration led him to abstract painting, expressing the essence of flamenco through the medium.
From an early age, he was fascinated by abstract forms, often inspired by the patterns within his Roma household. His artworks vividly encapsulate movement and color, creating a dance upon the canvas.
The recipient of the Premio de la Cultura Gitana in 2012, his works continue to be celebrated extensively throughout Spain and Europe, including showcasing at the 2024 Venice Biennale.
Mircea Lacatus
Born in Romania in 1962, Lacatus specializes in sculpture. He began his artistic training in his hometown and later advanced his studies at the National University of Fine Arts in Bucharest, graduating in 1989, a momentous year in Romanian history. He subsequently moved abroad to Austria for 22 years and later the US. In 2016, he presented a religious-themed exhibition titled Angels Go North in collaboration with Gallery Rivaa and the Romanian Cultural Institute in New York.
“Mother and Child – Marble” (undated) captures the tender moment of a baby exploring their mother’s body, curiously reaching out. The mother’s gentle expression conveys warmth and acceptance, as her hands support the baby’s balance.
“Mother and Child – Red Marble” (undated), featured prominently on his website, captures another lively encounter between mother and child, with their faces inviting the viewer’s gaze. In my grandparents’ village, mothers would cradle their children just as Lacatus depicts, navigating the transition from old customs to modern devices.
Another piece, “Mother and Child – Limestone” (undated), illustrates a serene bond—mother and child sharing comfort as the baby nestles peacefully in her arms. Lacatus adeptly portrays the mother’s selflessness, a powerful symbol of nurturing love.
Born in Sweden in 1987, Marcus-Gunnar Petterson has emerged as a notable illustrator and picture book author. Starting his artistic journey in 2014, he has produced several books featuring Roma children, substantially contributing to the representation and empowerment of young Roma generations. Together with Marin Salto, he co-authored a series of children’s books published in Swedish and various Romani dialects, including Arli, Kalé, Kelderaș, Lovari, and Traveller-Romani.
In 2015, Petterson was honored with the Albert Engstrom Youth Prize, and in 2018, he released Modig Som Ett Lejon, a whimsical picture book featuring endearing animal idioms. Notably, a tale featuring a crow with a baby bird seeks to challenge the pejorative connotations often associated with the crow in Romanian culture.
As a mother of two, I am heartened by the increasing availability of resources that allow them to connect with their Roma heritage through the lens of artists like these, who defy obstacles to share their narratives. This marks progress worthy of recognition as they constitute a vibrant cultural scene involving theater, photography, cinema, art exhibitions, and other expressive outlets.
I eagerly await the day when libraries feature art catalogs of Roma artists, when art history departments acknowledge our representation, and when museums invest in showcasing Roma exhibitions. As Raabe aptly stated, “There should be a greater percentage of Roma artists in major museum collections, and these works must be displayed, not merely acquired.” Only then can Roma truly claim their space within the broader narrative of art history.
