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Study on "The Logic of Sensation", 2014
Oil on Canvas
34 x 44 in.
Millett: are you waiting on me??
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: 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
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)
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
Ramos: yes of course
this piece is the experience of the very rudimentary principles within the content of my interest
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 just..is?
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
Thumbnails for the Study on "The Logic of Sensation", 2014
Oil on Canvas
1 x 1 in.
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