8 Clarendon Cross | W11 4AP laceycontemporarygallery.co.uk
COVER IMAGE: Is Tropical Oil on Linen, 100x100cm, 2014
MERLIN  RAMOS
lives and works in London. He received his BA in Fine Art from Falmouth College Prince's Drawing School where he went on to be an artist in residence the the at MA an and 2007 in Cornwall Arts, of following year. Merlin describes himself as a pseudo-surrealist landscape painter with roots in drawing and painting. Merlin works from a viewpoint of the observed space and then overlays personal meaning onto the spaces he chooses. He questions what the spaces possibly once meant to us and how they challenge us now. A ickering between interior and exterior, no beginning and no end, the paintings expose the direct purpose and process of the paint. The unusual conforms of architecture and the distorted perspective where objects and buildings melt into one another create a playful exploration, leading the eye from one element to the next.
SKETCHES AND PROCESS Merlin produces intricate sketches that act as the starting point for his canvases. Sketches are pulled apart, cut and reformed to create distorted collages which feed in his paintings heavily laced with personal meaning like trinkets from a dream. In his most recent and future work, Merlin intends the cut up skteches to sit alongside the final work, juxtaposing the process with the work. “My work circulates around nuances of personal spaces. I start by sketching observed imagery sketches inform collages and the collages inform the canvases - for any one subject matter there is a three stage process with each feeding into the other. Sections are zoomed in on and zoomed out - it a bit like an archeological dig, with fragmented pieces all coming together.” - Merlin Ramos
Storm Forward acrylic & oil on polyester 61x61cm, 2014
The Tribe oil on linen, 51x61cm, 2014
STUDIES IN GEOMETRY As part of his process, Merlin uses geometric puzzle blocks to inform his initial sketches and canvases. These blocks act as a tool to help Merlin represent solid objects in his paintings. The three dimensional blocks also inform the artist’s representation of light and shadows, and contribute to the element of realism in his work.
“I want the viewer to take an architectural language away with them, an atmospheric world with a realisation of perspective but not in a blueprint way. An observation of my studies in geometry, the collage as a visual stimuli and rhythm.”
Turbulance oil on linen, 100x100cm, 2014
Fallen Geometry oil on canvas, 122x91, 2012
Crystal Maze oil on linen, 122x91, 2014
IS TROPICAL Tropical elements are another important feature of Merlin’s recent work. They can create both a rythmic, moving atmosphere in his paintings, as well as being subtle, restrained, and solemn. Merlin’s painting technique involves starting with thin layers of paint, building up to thicker layers using varnish, damar and linted oil. In each painting, Merlin is considering the textures on the surface of the painting - whether that be gloss or matte, thick or more dilute. “Ramos’s paintings are ways to return to the more innocent times, to remind you of the beautiful wild flowers when you walk pass while staring on the screen of your smartphones; to recapture the first poignant moment you have in the city, it may be a smile of a love one, or just a feeling of bliss, deciphered into visual stimuli.“ - Jason Chung Tang Yen for Avenir Magazine
Is Tropical oil on linen, 100x100, 2014
Levels of Calm oil on linen, 76x60cm, 2014
Rhythm and repetition Merlin’s newest paintings are all taken from an image of Royal Festival Hall on the South Bank in London. They deal with Rhythm, movement and repetition. This is seen within the elements of brutalist architecture, and the way in which Merlin creates a strong sense of geometry and harsh angularity. “I feel the images represent a modern ‘podular’ city style of living, reminiscent of Pod hotels in Japan and the image of the future in Luc Besson’s film ‘Fifth Element. It could remind people of tower blocks, drawers or storage, all of which are relevant comparisons.” - Merlin Ramos The use of a more subdued palette focuses the viewers gaze on the buildings repetition which is re-itterated by using grayscale and reds and blacks as it gives the eye time to concentrate on the light, shadow and form.
Festival oil on linen, 100x100cm, 2014
A History of Weather oil on linen, 40x40cm, 2014
Saturnalia oil on linen, 40x40cm, 2014
MERLIN RAMOS | CV EDUCATION:
2007 “What next ?!, Part 2, 35a Gallery, Brighton, June
2009-2010 Artist in residence at The Prince’s drawing School, The Tea
2007 “What next ?!” Zed shed, Penryn, Cornwall, May
Building London
2004 Grande Café colonial, Bilbao Metro, Madrid, May
2008-2009 The Drawing Year, The Prince’s Drawing School
2004 9 Raglan Road, Dublin 4, Sept
2004-2007 Falmouth College of Arts, Cornwall; Fine Art; Ba (Hons) EXHIBITIONS: 2014 ‘Field Trip’, Display London Gallery, Holborn, June 2014 North Louth Painters, 2014 Guest Artist, April 2014 ‘£weatshop’, Gem Space, Dalston, March 2013 ‘Gifted’, Chart Gallery, Chelsea, December 2013 Strarta Art Fair, Representing Fad Conteporary, Saatchi Gallery, Chelsea, October 2013 ‘Shot’ Kristin Hjellegerde’s Arteco Gallery, Wandsworth, August 2011 ‘Stop Look Listen’ , Cob Gallery Camden, August 2010 “New Paintings,” The Light, Shoreditch high Street, September 2009 North Louth Painters, 2009 Guest Artist, November 2009 Flatlake Arts Festival , Northern Ireland, July 2009 “Colourists,” Queen’s Elm Artist’s, Chelsea, London, July 2009 “Merged,” Shoreditch Town Hall, London, February 2007 “Daydream Select,” Studio 33, Carnaby St., London, April 2006 Riding for the disabled, Charity Auction, Christie’s, London, Sept
BACK IMAGE: Meditation and Ritmo oil on linen, 100x100cm, 2014