In the Crashroom series, Rocío Verdejo portrays real people who have suffered a violent process of depersonalization. The mechanism is activated after the protagonists is isolation, desperate inner flight. Hiding, far from being an assumption of loss of identity, is the poisoned and self-poisoned Romeo, is a somber standby which separates us from reality and, therefore, our gender, but also the only way to coming back to it afterwards.

The world of Mirror, which penetrates the brave and sensible Alicia, avoiding getting caught in the mirror image is not the place of the symmetric reverse, anti-matter, or inverted image in the mirror of the world which she comes. It is the world of speech and asymmetry, whose arbitrary rules strive to divert the subject, Alicia, naturalistic any possibility of identification.
Alicia no more - Teresa de Lauretis

Rocío Verdejo develops her work in the field of staged photography. Build images starting from a sketchy script that mixture of reference images, annotations, drawings and models and locations. From detailed planning of the scene it works simultaneously form and content, establishing meaningful relationships between the real and the imaginary through a symbolic level that multiplies the layers of meaning and reading. It is a slow and painstaking process.

Crashroom talks about the complex issue of domestic violence with a neutral and respectful perspective, but without sacrificing empathy. During six months, he has conducted a research work collecting the testimony of women who have suffered gender violence and who are at different stages of physical and psychological rehabilitation after trauma.

From interviews and a documentation work and cases, you understand that fear is a constant in the lives of these women, going so far as to completely cancel them in the most serious cases. They are isolated in the emotional terrain and sometimes physically. They are not recognized, they do not communicate.

In the exercise of seeking a visual metaphor that expresses the "not existing inside" choose two symbolic elements, the mirror and the skin, to construct images of this series. With this idea raises a choral portrait of five women of all ages, one with his son, in a ballroom of romantic inspiration, citing the irony in the recurrent violence cases where victims and perpetrators seek refuge in a romantic vision of love.

Archival Pigment print on Hahnemühle PhotoRag Baryta 315 gr. on dibond 3mm. framed in American air box