Sharoll Siñani — Artist Statement
Aymara: Jach’a chuyma, llump’a amuyu, suma thakhi.
English: Great heart, clear mind, beautiful path.
Español: Corazón grande, pensamiento claro, camino hermoso.
In Aymara, jach’a chuyma — “great heart” — names a largeness of spirit that cannot be measured in cubic space or state borders. Like all forms without measure, it resists governance unless it is first named, divided, and fixed. Institutions and markets rely on this fixing: the map, the census, the curriculum, the price tag — each gives the amorphous an administrable edge.
My practice begins where those edges fray. I work across painting, installation, poetry, and pedagogy to dissolve the bureaucratic outlines that have reduced people, land, and memory to “undifferentiated mass.” In the same way a government stamps a serial number on a bill, I give singularity back to what has been rendered generic — a paving stone, a child’s drawing, a fragment of ceremonial textile. These are not symbols of something else; they are beings with biographies, relationships, and the capacity to hold grief, joy, or refusal. And here comes the paradox: I insist on this singularity so that community can exist, so there is a common cosmos in which we are together.
The art, the questions, the gatherings — all of it is to refine the art of communal living. We have not yet mastered this as human beings. The West is deeply individualistic; traditional cultures have created structures of collective life, but also with different levels of internal violence, especially toward those outside the figure of the straight man. Colonization imposed a patriarchal frame that erased other possible worlds, but even before, disparity existed. What we must learn — and I am curious to study and refine — is how those disparities transformed into violence or not, at what levels, and with what implications. I have no doubt that communal living is the path forward, but it must be sharpened, deepened, and made more just.
I approach matter as intelligent and self-organizing — a co-creator, never a passive medium. In Aymara ways of knowing, stones, rivers, and ancestral bones are participants in life. But I resist turning this into a romantic token; Aymara sensibility is also about social mobility, about growth, about suma qamaña — good living. We are not satisfied to be imagined only as highland farmers contemplating the mountains while the nearest doctor is hours away, or climbing a hill for internet, or sending our children to schools without resources. We want all the fullness of modern possibility, without exploiting others or ourselves.
Beauty, for me, is not and should never be a privilege. I came from financial scarcity but never from nothing — I came from everything:
A mother that was working sometimes 24 hours shifts as a nurse, a dad that despite his alcoholism and extra sensitive soul was a genious teacher who taught me how to read and write before school did, who showed me how to create images with a pencil and then ideas with images, images into questions, questions into art, art into life, the good life, who would always told me to read, whatever, but read. Who told me I was bright and gifted, everyday of my life, a mother whose way through life is to make things easy because life is already not. A grandpa whose most common ask from the upper forces were: wisdom and patience, whose spiritual core was my refuge and north, who would read to me, burn eucalyptus leaves with me and call me churucutita, who would hug me when I cried and when I didn’t, who would listen to me, fully, who received me, no questions asked, who would protect me and sit with me for endless nights, a dad who rose before the sun to give me care and pito de cañahua tea, who never agreed with my ways but still told me I was exceptional, always, an illiterate grandma who ended her days also illiterate, who would yell the life out of her lungs and still give me the richest soup in the world and tell me never to be financially dependent, specially on a man, and to study as much as I could, and aunties and uncles who taught me things, who gave me food, who mocked me, who admire me and who were there. And a brother who is the incarnation of Love, someone who came from the same everything as me, from the same pain, abundance, goodness, shadows and relentless Love as me, and is wiser and more giving that I could ever be.
Growing up in a sacred space (there is, to this day, a Huaca in my home) without financial abundance and sometimes risk, taught me that beauty can survive scarcity — and that the absence of beauty can be its own form of violence. My work insists that beauty is a human right. Through the creation of spaces where the singularity of people and matter is acknowledged, I aim to retrain the gaze toward recognition: to see not “the public” as an undifferentiated whole, but as an intricate, interdependent constellation of beings, each carrying their own edge, their own magic, their own form and creating a marvel, a big one, a shared one.
The political urgency of my practice is to re-demarcate. To ask: what if the borders that mattered most were the ones we drew to protect life, memory, and wonder? What if the form we chose to govern was one that expanded, rather than constrained, our capacity to love in action and to act with love?
Note on Love
I will not define love, perhaps my inner world is refusing even that kind of confinement.
Instead, I want to design the space where love can take place:
a space where presence is unguarded, where memory is held without turning into weight,
where beauty is not an ornament but a condition of dignity,
where our differences sharpen our ability to live together rather than divide us.
Love, for me.
It is a terrain — sometimes uneven, sometimes lush — that must be walked into, tended, and risked.
Surrender.
Rawness, courage.
Our tender world, bare.
It is the work of arranging the ground so that trust can grow, so that joy is not naive, so that grief is not exiled.
It is a way of building the communal community without erasing the singular.
And it is the one border I will never guard,
because its strength lies in its openness.
CV Sharoll Siñani
Sharoll Fernandez Siñani
Artist (mixed media), poet, and educator
Based in New York City · sharoll@sharollsinani.com
Born: La Paz, Bolivia. Lives and works: New York, NY and La Paz, Bolivia.
Practice: Visual artist (mixed media on canvas, drawing, installation), poet, and educator.
Education
- Harvard University, Graduate School of Education (USA) – Ed.M. in Education Policy & Analysis, 2023. Concentration: Identity, Power, and Justice in Education.
- Shearim College of Jewish Studies, Jerusalem, Israel – Judaic Philosophy & Theology, Feb 2019.
- Academia Nacional de Bellas Artes “Hernando Siles” (Bolivia) – towrds B.F.A. in Fine Arts (Painting), 2008–2012.
- Universidad Mayor de San Andrés (UMSA, Bolivia) – Licenciatura (towards B.A.) in Literature. Additional academic coursework: Business Management at UMSA.
Solo Exhibitions
- 2024 – “Madonne & Metamorfosis,” Museo de Arte Antonio Paredes Candia, El Alto, Bolivia. Solo exhibition of two series: Madonne and Metamorfosis. Accompanied by the presentation of the trilingual art-poetry book A Senkata y a mis muertos.
- 2022 – “Progression of a Creative Mind,” Gutman Library, Harvard Graduate School of Education, Cambridge, MA, USA. Presented Madonne, Metamorfosis, and Sus Miradas series.
- 2025 – “Family Day: Celebrating Women’s History Month,” Queens Museum, New York, NY. Featured artist; immersive art-and-poetry presentation with live readings from To Senkata and to My Dead, Aymara music, and communal participation.
Group Exhibitions & Presentations (Selected)
- 2011 – Altamira Gallery, La Paz. Collective painting exhibition.
- 2011 – Arte 21 Gallery, La Paz. Collective painting exhibition.
- 2010 – “Lo Cotidiano es Destacable,” Cinemateca Boliviana, La Paz. Digital photography group exhibition.
Publications (Authored Works)
- 2025 (Sept) – To Senkata and to My Dead. Trilingual art and poetry book (Aymara/Spanish/English). Hybrid of the Metamorfosis painting series with poetry and testimony. Includes an educational guide for constructive dialogue.
- 2020 – Desde el Centro (From the Center). Trilingual art and poetry collection in Spanish, Aymara, and English.
- 2022 (Fall) – “A Tribute to Language and Love,” bilingual essay in ReVista (Harvard DRCLAS journal).
- 2013 (Aug) – “Nomad,” personal essay in Bolivian Express magazine.
Awards & Honors
- First Aymara Indigenous woman from Bolivia to graduate from Harvard.
- Admitted to Harvard Ed.M. without a prior undergraduate degree (rare, merit-based case).
- HGSE Intellectual Contribution Award Nominee (2023).
- Featured in La Razón’s 2024 “Escape” cultural section; invited speaker at cultural/social justice institutions.
Professional & Community Leadership
- Founder & CEO – Zera Bolivia Educational Foundation (2015–Present). Arts-driven, community-based education programs in prisons, hospitals, rural and urban communities.
- Board Member & Program Manager – Jichha (2019–Feb 2024). Co-organized 50+ public conversations engaging political and social leaders.
- Founding Board & Project Lead – Antisexist Group of Indigenous Aymara Women “Las Caras de Llama” (2020–Dec 2023). Intersectional workshops for Aymara & Quechua women.
- Co-founder & Social/Cultural Director – Bolivian Express Magazine (2010–2014). Led 300+ international interns; cultural projects and monthly publications.
Selected Professional Experience
- Head of People & Culture – Bronx Children’s Museum, NYC (Mar–Sep 2024). Led a six-month organizational transformation and launched first Summer Youth Employment Program.
- Consultant – Tinker Foundation, NYC (Aug 2024). Evaluated Latin American education projects.
Presentations, Lectures & Public Programs (Selected)
- World Bank Bolivia – Lecture on women’s empowerment (Mar 2023).
- First Departmental Meeting “Yatiri”, La Paz – Workshop on literacy perceptions (Oct 2023).
- 1st Plurinational Meeting of Indigenous Intellectuals (UPEA) – Lecture: “Alfabetización como acto de resiliencia” (Oct 2023).
- Siembra Vida Bolivia (UMSA) – Leadership workshop (Jul 2023).
- 3rd Anticanon National Writers’ Meeting – Panelist on Indigenous cultural permanence (Jul 2021).
Publications & Media Coverage (Selected)
- ReVista, Harvard University – Profile on art, language, and Indigenous identity (2022).
- La Razón (Bolivia) – Feature interview “Arte, presencia, memoria y transformación” (Dec 2024).
- Red Uno TV & Eju.TV – Coverage of Harvard graduation and cultural advocacy.
- Bolivian Express – Various articles and illustrations (2010–2013).
Additional Training & Workshops (Selected)
- Bienal SIART Contemporary Art Workshop, La Paz – 2007.
- “Cine Invisible” Film Workshop with Rodrigo Bellott – 2009.
- Performance Art with Johan Lorbeer (Germany) – 2009.
- Photography with Roberto Valcárcel – 2010.
- Digital Photography with Antonio Eguino – 2010.
- Tempera & Wax Painting with Gabriel Barceló – 2010.
- Video Art with Arturo Ruiz – 2011.
- “Lo Cotidiano es Destacable” Digital Photography with Zoltan Jókay – 2011.
Languages
Spanish, English, Italian (fluent) · Hebrew, French, Aymara (conversational)
(Note: Aymara language learning is an ongoing personal recovery process due to interrupted intergenerational transmission.)