Unedited conversations between artist in a productive critique discovering thesis and processes behind the work.
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Four Dimensions, 2015
Oil on Canvas
34 x 44 in.
RAMOS: The piece is called "Four Dimensions" and it is Oil on Canvas 34x44in.
MILLETT: tell me about the title
Exploring my perception of the different dimensions I have access to.
There's the 3rd dimension, which most people's realities are lived - confined by man-made structures that guide both physical and spiritual energies
then the 4th dimension, some people have access to, which allows some flexibility in the boundaries
the 5th dimensions, a system of conscious energies, without confinements or hierarchies, that share information
and the 6th dimensions, which is mostly inaccessible to me, but I can imagine as amorphous and undefined by systems
MILLETT: thats a mouthful
i guess i can describe them in a simpler way:
(3rd) normal people, (4th) spiritual people, (5th) spirits or masters, and (6th) God
MILLETT: and how do relate to this painting?
RAMOS: the 3rd dimension, or normal people, are at the center of the circle... depicted by a rigid grid.
The 4th dimension, or spiritual people, are the next outer layer of the circle and the grid is now distorted and therefore less rigid.
The 5th dimension, or the spirit world are those concentric circles that link to one another.
And the 6th dimension, or God is at the corners of the canvas.
MILLETT: a map?
i am comfortable with that
a map of energies and how they work in each dimension
MILLETT: its very spatial
RAMOS: yes, it is very much a map...
i did not think of it as such until you said it
MILLETT: your a cartographer of spiritual dimensions?
wish i could put that on my resume
MILLETT: i'm sure it will be somewhere
so...i feel like this was kinda intuitive, its beginnings as a work
is that fair?
RAMOS: absolutely - had no idea it would be this when i started
MILLETT: and now it seems you have something that is functional
RAMOS: yes - i can see that - sort of makes me want to explore beyond the map
MILLETT: i think its great, it wasn't negative, just an observation of your path to discovery
RAMOS: oh i didn't take it as a negativism at all - the map is very useful, couldn't be anything else without it
MILLETT: why do think, or is it even, necessary for such a map?
RAMOS: just like floor plans are necessary to understand a building
it is a way of organizing an experience of a space without overwhelming information intake
it is a way of removing the thing from the experience of the thing
not sure if that makes sense
is it successful?
RAMOS: it makes me very uncomfortable but it allows me to move forward
it is not an end but a means to a process
a beginning to a new beginning
and in that sense yes, i would say it is successful
MILLETT: uncomfortable how?
RAMOS: part of me looks at it and thinks "this is ugly" but i like it anyway
it's as if it didn't matter because it has so much information for me
MILLETT: i think it works, compositionally and aesthetically
i think its important for you to develop works that functions in some capacity
and this definitely takes a big step in that direction
RAMOS: i agree - this reminds me of some of the work I did a few years back with tape on paper
except with a lot more variables
and using intangible data - which i really enjoy
i think that work back then was "functional"
and somehow, when i started painting, i lost that - as if for me, painting couldn't be functional
and in a way, i have trouble identifying with this piece as a painting
because it's functional
MILLETT: well i say functional because it operates on numerous conceptual levels, has content, is educative in some fashion..
less like the functional-nes of a machine
maybe i'm using the wrong word
but it works and seems like you have a good vision on how to move forward
did i make any sense there?
RAMOS: yes - i think functional is a great word
moving forward I'd like to explore the map at different scales and at the same time i'd like to move away from the map at this scale
i don't want to move away from functional when i move away from the map
as if allowing the map to work with a sense of gravity
not sure if that makes sense
literally exploding the map
i think people would want to see that
RAMOS: with your help, i think i've found something i can call my own
i think its great discovery and direction to move forward in
how you do it will be up too you, there's so much content within the work
RAMOS: well content is endless ... i was searching for a language
MILLETT: yes i mean this relates to a lot of things you have done in the past
but its more crystallized in some sense
you are allowing the audience inside th work, i.e. the development of your own language
RAMOS: can't express how grateful i am for this process with you... was just looking at some past conversations... I could have gotten stuck copying Bacon
that would have sucked
MILLETT: its hard to see how to get some somewhere when your inside it, or consumed by it
def woulda sucked
RAMOS: you described WU perfectly there on that last sentence
MILLETT: that was good nice work
RAMOS: so glad i took suggestions
MILLETT: yea i guess your not a stubborn brat when you paint