Off the Wall!

Latest Works

Since March I’ve been trying to produce pieces that are free-standing and fully considered from any perspective. I wanted to challenge myself and create works that wouldn’t be presented on the wall. Basically I want the viewer to experience the pieces all the way around. This was definitely difficult for myself since a lot of the work I’ve made in last couple of years has been presented on the wall. So far I’m quite happy with the results and I can’t wait to keep going on this route.




Humor also comes into play through many of the shapes. The simplicity of line drawing with animated child-like qualities reference a sense of nostalgia for the past. Imagery inspired by childhood memories often looks simulated as if from a child’s perspective, simple and innocent. Embedded in the larger compositions, animated, humorous and sometimes anthropomorphic shapes become a strategic way to engage the viewer to look more closely. A simple droopy line attached from both ends in the middle of a complex rigid composition generates a sense of humor, failure and a pause for the viewer’s eye to rest. Contradictory visual information is essential for a sustained and meaningful engagement with the work.



Tres enredos, 2018 | Black annealed steel wire | Dimensions variable.

(Detail image) | Tres enredos, 2018 | Black annealed steel wire | Dimensions variable.

Through the process of drawing, cutting and assembling I create compositions that challenge the viewer to look closer and to investigate the imagery presented. At many times through this intuitive process, the evidence of the hand becomes apparent. In addition, the indexing of time spent is quite evident in many of my pieces. The distortion within compositions echoes the conflation of fragmentary visual information within the 3D shapes that make up the overall construction. The assemblage process emulates the visual fusion of information embedded in the shapes. Through the process of making, shapes acquire qualities of the positive and negative counterbalanced by a reading that is both abstract and representational. The use of motif based signifiers in relation to the Caribbean landscape helps to engage the viewer in an active search for meaning. The visual layering of the shapes in my installation works and also drawings amplifies the exaggerated distortions portrayed. The use of line in the work references a symbolic continuity of process and language. Drawing in a two and three dimensional manner becomes a way of discovery for myself as well as for viewer. The overlapping layers, lines and imagery create a constantly changing experience within this fragmented landscape reminiscent of my struggles and acceptance in creating a bicultural identity.


Hello Creative Pinellas!

Hello everyone!

This is Gabriel Ramos, grantee of one of the Creative Pinellas Professional Grants 2019. First of all I would like to thank Creative Pinellas for the wonderful opportunity and for the amazing work they do in the Pinellas County area. I’m quite excited to start this blog with an introduction to the work I do as an artist. My current artwork is mainly sculpture and installation, but it also includes video and photography. Below I will include works varying in medium and a short artist statement so you guys can get a sense of my interdisciplinary artistic practice.

My work involves the construction of abstracted compositions aligned to a fusion of tropical landscape elements, architecture, and various other representational components. Concepts of fragility, the ephemeral quality of home with related memories are important factors in the process that results in my artwork. The inspiration for these constructions is primarily drawn from childhood memories of my home in Puerto Rico. My work references a fragmented imaginary space that is layered, anomalous and uncanny; a place that is surreal, fragile, ephemeral, familiar yet abstracted and only accessible through the investigation of remote details and signifiers.

The exploits of the line become both matters of fact and essentialized in my recent works. El garabato or in English “the doodle” portrays an automatic sense of failure. However “the doodle” also exemplifies the potentiality of the line in humor and action. The line will always be the line. In curves, in a spiral, as a scribble, as a shape or simply straight, it never loses its identity. It is the visual conduit that helps us follow and understand form, perspective, and space.

Untitled, 2016 | Archival inkjet print |  30” x 44”

Entre Portones y Verjas, 2017 | Cut buckram | Approx. 10 ft x 9.5 ft x 2 ft | Site-specific installation at Olive Tjaden Hall | Cornell University. Funded in part by Cornell Council for the Arts Grants.









En una hoja de plátano, Bluahhh, 2018 Steel wire | Approx. 3.5 ft x 5 ft x 2.5 ft

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