Jason Ramos‘ paintings attempt to extract something of the personal from public image production, to create a personal picture of a public image, a digital image that might come from anywhere in the digital universe. In short he tries to give subjectivity to an object though his own interpretation of the image.
To this end Ramos’ paintings are about painting, about picture making, mark making, the subject is secondary to the act. What he’s most concerned with is evoking an intimacy with the image that activates unconscious associations, personal mythologies and the fleeting quality of the moment. His pictures are a pictorial investigation into the history of mark making using strategies laid out in impressionism and expressionism, realism, bad painting and Leipzig school techniques.
His statements on art and its place in the World are interesting. Here’s what he has to say:
The more art which is made, the more matter is used, transformed. Eventually, everything will become art and be preserved. Therefore, to be an artist means you’re raising the value of matter. Artists have the capacity to raise. They can raise value, raise meaning, raise material above the level of popular convention and common sense. This can be frightening at times, art can be controversial, to which he adds, “The only thing scarier than art is love.” Inherently, people do understand that art is a big deal.
It’s not about practicality or supply and demand, art is more of an affront. Culture is an affront to practicality. Creativity is the act of making something out of nothing, but more specifically creating something vital, like surviving in a burning building. Doing it without adding to the danger is essentially what we call a celebration of life. This is not to refuse the influence of the environment despite its hostility, nor to say that the environment is so overwhelming art is simply a series of motions, running through the world.