The magazine for critique and discourse between artist, collectors, and curators.








Olivia Ramos

Study on "The Logic of Sensation", 2014

Oil on Canvas

34 x 44 in.

Millett:  ‪are you waiting on me??


Ramos:  ‪sure‬‬


Millett:  ‪some background info? size? medium?‬‬


Ramos:  ‪oil on canvas, 34x44 in., studying the difference between genders as it relates to real estate development and architecture‬‬


a continuation of the thesis: built in the image of the creator, the creator being the developer


Millett:  ‪gotcha‬‬


Ramos:  ‪also‬‬


Millett:  ‪go ahead‬‬


Ramos:  ‪an exercise following the Deleuzian theory of art in the Logic of Sensation‬‬


chapter one to be exact, there is a figure and a field, the figure is three dimensional and the field is two dimensional... which allows me to break away form the tendency of perspectival narratives


Millett:  ‪ok  gotcha‬‬


so, you wanna talk about the actual piece or the content (your conceptual thinking) about the piece?


Ramos:  ‪either way, we can start with the piece if you'd like


Millett:  ‪sounds good


immediately when i opened i recognized the composition, very baconesque


Ramos:  ‪undeniably so‬‬


Millett:  ‪so, why reproduce?‬‬


Ramos:  ‪that's a fair question‬‬


according to Deleuze, Bacon follows a very specific structure


i followed the structure as an exercise


Millett:  ‪like you can structure/compose specific to the you and the content that is driving you to produce a work of paint‬‬


Ramos:  ‪I wouldn't say the content is a reproduction‬‬


Millett:  agreed‬‬


Ramos:  ‪Bacon and I are interested in very different things‬‬


Millett:  ‪right (well, both of you are interested in sex in a way.. more on that later)


Ramos:  ‪and the structure is not only used by Bacon but it can be found in the work of Matesse, El Greco, and far back to Byzantine and Egyptian art‬‬


to name a few


in a way I am also trying to place myself or align myself, within art history, even if just as an exercise


Millett:  ‪right, so i'd say use this specific structure as a guide, learn the principles and them make it your own, which in turn would most likely relate to the content of your own specific work‬‬


‪make sense?‬‬


Ramos:  ‪yes of course‬‬


this piece is the experience of the very rudimentary principles‬‬ within the content of my interest


Millett:  ‪understood‬‬


but why? im guessing you needed to structure your work in some way?


Ramos:  ‪my academic background is in architecture and therefore my default is to think of painting as a series of perspectives, both physically and narratively‬‬


I wanted to break away from that


especially the narrative, which is so ingrained in the conventional rendering


Millett:  ‪so there is no story here? this work‬‬


Ramos:  ‪not quite


I was able to reduce "you are standing here looking at this" to " you are looking at this"‬‬


and the story is not explicit in the painting either


Millett:  ‪i would agree‬‬


Ramos:  ‪it's just a female building surrounded by male buildings‬‬


Millett:  ‪what does that do‬‬


Ramos:  ‪two things I guess.. the ratio of male and female buildings is apparent as well as a key difference in the two‬‬


that is, female buildings are able to make resources out of waste, these resources can support life, such as the forest surrounding this particular female building


Millett:  ‪that sounds like a narrative to me‬‬


Ramos:  ‪i know‬‬


there is narrative in Bacon's work too, he just never talked about it


Millett:  ‪of course‬‬


that was the point


Ramos:  ‪should I pretend there is no narrative? is that part of the role of the artist?‬‬


Millett:  ‪nah im not saying that‬‬


i think what would be more constructive is to develop your own structure to the work


use your own conceptual way of thinking about your 'material' to guide you in developing a composition for the paint


i think it may be ugly at first, but it will come


Ramos:  ‪i agree with you, it is important however to understand what a structure is to begin with‬‬


before reading Deleuze, I didn't know there was such a thing


‪i'm not sure i fully understand it yet‬‬


and to expand or distort or adopt something, that something must be well understood


Millett:  ‪it does‬‬


so do you keep going with these experiments?


Ramos:  ‪i'm only on chapter 1‬‬


i think it is worth continuing


Millett:  ‪sure its worth it, i wouldn't discourage it‬‬


question - did you sketch out and know what you were gonna paint before you painted it?‬‬


Ramos:  ‪i did a few thumbnails‬‬

Olivia Ramos

Thumbnails for the Study on "The Logic of Sensation", 2014

Oil on Canvas

1 x 1 in.


Millett:  ‪gotcha


and then you invested all this time and work in the painting, to produce something that you knew what it would become beforehand


‪i'm simplyfying but you see what im getting at?‬‬


‪experiments, made by scientist are made for discoveries, whether they are successful or lead to failure‬‬


you need more of the sketch in the painting


Ramos:  ‪i definitely see your point and agree‬‬


once the sketch became visible the painting process had very little room to teach‬‬


Millett:  ‪there is a refinedness and completeness to the painting which the sketches don't have‬‬


the incompleteness of them, allows me to enter them - allowing for my own interpretation


‪i think in a way that is what made Bacon - moments of completeness and chaos all in the same painting


an unfinishness that allowed the viewer to become intertwined with it


with painting, you should allow yourself more discovery, you see hints of it in the application of the paint in your work


does that help?


Ramos:  ‪yes absolutely... I am becoming more comfortable with the brush strokes, however the totality of the experience is not too far from that of a coloring book‬‬