We sat down with Harmonia Rosales to talk about a practice rooted in ancient mythology and classical technique, spanning museum exhibitions, cultural collaborations, and a new body of work that reimagines origin stories for today.
Samuel L Jackson, Tina Knowles, and Nas are a few of your many celebrity collectors. Tell me more about your journey and how you caught the attention of so many public figures.
I think it speaks less to me ‘catching’ their attention and more to the power of the story itself. When you’re creating work that restores what erasure has done, our mythology, our origins… people feel that on a soul level, no matter how public their lives are. My journey has always been about telling the truth visually and now through writing. And I think public figures who are intentional about what they attach their names to recognize that. They see the importance of how we, as a global audience, see ourselves.
Describe your art to me! Can you tell me about some of your favorite pieces?
My work is figurative, painted with Old Master techniques, but rooted in African mythology, African and American history. I center Black bodies in a place of divinity, giving them historical anchors in the Western canon. While also undoing 600+ years of white-washed imagery that beautified colonialism. Each painting, reimagined or not, peels back those layers of erasure, revealing a visual and spiritual reclamation of stories and identity. And when it comes to favorites… that’s like asking me to pick a favorite child. I can’t. Each painting holds something I fell in love with while creating it. Sometimes it’s the way I painted an animal, or the precision of a hand, or the rays of light bursting through the trees. Other times, it’s the story behind it and how it made me feel.
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I hear you designed an album cover for Nas. How did that come about?
Designing the cover for Nas was such a smooth and effortless experience. I don’t normally do commissions, but something compelled me to do this with him. He had already been an admirer of my work, so when the opportunity came, he trusted me completely and gave me creative control… which is rare and deeply appreciated by visual artists. So I infused elements of the Orisha Shango – the god of thunder, lightning, fire, and justice – into the piece, because that’s who Nas is to me: powerful, bright, fiery, and unshakably committed to the culture. Shango represents strength, leadership, and left an indelible legacy in Black history, which is a perfect encapsulation of Nas. The cover became more than an image; it became a deeper reflection of who he is as an artist, a persona, and what he means to our community.
Congratulations on your new book, the “Chronicles of Ori.” Tell us all!
Thank you so much. Chronicles of Ori is a mythology rooted in Yoruba cosmology. It explores the African gods, how they became masked under Christian saints, and the histories that existed long before enslavement. Traditionally, these stories weren’t told as one continuous narrative; they lived through oral tradition, community, and ritual. I chose to bring them together intentionally. Similar to what Ovid did with Metamorphoses, I wove the myths with the history of how the Orishas became masked and forgotten, making the narrative accessible to a Western audience while preserving it in a way that invites deeper understanding within our society. It’s a mythology in the truest sense. If you love world-building, gods, heroes, origin stories, or just beautifully layered histories, you’ll find yourself at home in this universe. However, I wrote this book first for the diaspora. For anyone who has ever felt the loss of origin, or the ache of not seeing themselves in the stories we’re taught growing up. It was important to me to highlight these stories, in their true glory, so that marginalized communities (particularly, Black communities) could see themselves in the divine. I was very deliberate about making these stories accessible for everyone – not just the voracious readers – because I have bigger plans for these stories in the future.
What are some of the key learnings you think readers will take away from your book?
I think readers will walk away with a deeper understanding of an ancient mythology that has rarely been introduced in the Western canon. Chronicles of Ori opens a window into how the African diaspora once understood the world, our cosmology, our moral frameworks, our relationship to nature, spirit, and community. Learning a new mythology isn’t just about gods and stories; it’s about seeing through another cultural lens. And when you understand how someone else sees the world, it changes how you communicate, how you empathize, and how you relate to history. Whether you come from the African diaspora or not, readers will gain a broader sense of human imagination. It expands the map of what we know mythology can be, and it reminds us that understanding each other begins with understanding the stories we come from.
You have been on a global book tour. Any favorite moments on tour?
Honestly, the best part has been meeting everyone face-to-face. This year has been all about connection for me, interacting with the broader community in person and hearing how the work and the book have touched people. Those conversations, those moments of recognition, have meant everything to me. It’s been a beautiful experience.
Amazing women like Tina Knowles and Bozoma Saint John have supported you on this tour. How does that make you feel?
It’s incredibly inspiring. Tina Knowles and Bozoma Saint John are powerful, influential women who have spent their lives lifting others as they climb. To have women like that choose to stand behind my work is a reminder of the strength that comes from community and sisterhood. Their support encourages me to stay grounded and to keep making space for others coming up behind me. It reminds me to show up, to mentor, and to pour into people the way they’ve poured into me. It’s a full-circle kind of gratitude.
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What’s next for you?
Immediately next, I’m heading to Art Basel Miami for my first art fair presentation in six years. I’m honored to share that this presentation is in partnership with Rele Gallery, a leading Nigeria-based gallery rooted in the rich lineage of contemporary African art. Together, this collaboration represents a shared commitment to dialogue, cultural exchange, and celebrating the artistic lineages that shape the African Diaspora. Next, in late January, I will have a show at the Getty Center in Los Angeles, Beginnings: The Story of Creation in the Middle Ages. The exhibition features manuscripts from the Getty’s collection alongside my paintings that, together, explore how the Creation (of the world) was visualized, represented, and interpreted both in the Middle Ages and today. It’ a real honor to show in such a monumental institution in the arts.
Where can we find your book, and how can your art be bought?
My book is available worldwide and can be purchased through any commercial or independent retailer! As for my art, I have an internal team that is available for acquisition inquiries.
Anything else you would like to share?
I’ll be back on tour for Chronicles of Ori in February 2026, and I’d love to see Daily Front Row readers there! I’ll be in Chicago, Baltimore, St. Louis, New Orleans, Hartford, and more! Find the tour schedule coming soon here: https://chroniclesofori.com/
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