Guillem Ramos-Poquí

Guillem Ramos-Poquí (born 1944, Barcelona) is a painter who was a major figure of Arte Povera and Conceptual art in Catalonia during the 1960s. He has lived in London since 1968.

Guillem Ramos-Poquí

Guillem Ramos-Poquí
Born Barcelona, Spain 1944. Living in London since 1968
Education BA Hons Barcelona Faculty of Fine Art. P/G Ecole des Beaux Arts Paris. P/G Pratt Centre Printmaking New York. P/G Slade, University College London. MA Royal College of Art London. PhD Painting Barcelona Faculty of F.A.
Occupation Head of Fine Art Kensington and Chelsea College London (1990-2004). Lecturer in Advanced Painting Morley College London 2004-2013.
Known for Povera Art and Conceptual Art. Painting. Printmaking. Digital Art. Collages. Assemblages.
Awards French Government (Cercle Maillol) Fellowship to Paris (1965-66). American Elias Ahuja Art Specialist Fellowship to New York (1967-68). Member of the Royal Society of Arts.

Studies and Early Career

Guillem Ramos-Poquí grew up in Barcelona where he studied painting at the city's School of Fine Art. During the 60s he was a major figure in the Catalan Conceptual art and Arte Povera avant-garde. After being awarded several art fellowships that took him to Paris and New York, he settled in London in 1968 where he studied at the Slade and the Royal College of Art. In 1995 he received his Ph.D. in Fine Art Painting from the University of Barcelona for his art work and thesis entitled The Conceptual Dimension in Art: Theory as an Inherent Component of the Practice of Painting, written in Catalan. He was Head of Fine Art at Kensington and Chelsea College (1990-2004)[1] and Lecturer in Advanced Painting at Morley College (2004-2012).[2] He has exhibited extensively in London and abroad.

Post-Pop Art and Minimalism

In 1965 Ramos-Poquí was awarded a fellowship from the French Government to work in Paris and was given a studio at the fr:Cité Internationale des Arts (Paris)[3] where he held an exhibition of collages featuring photo cut-outs, graffiti and letter/number transfers. Although these 1965 collages have a post-Pop Art feel, their employment of a personal code and incorporation of mechanical, automatic and lyrical formal elements defy categorisation. His 1967 work, exhibited in the Gallery of the Institute of North American Studies in Barcelona, consisted of a series of minimalist 'signs' made with industrial spray paint. Ramos-Poquí was granted the American Elias Ahuja Art Specialist Fellowship to New York, where he had a studio from 1967 to 1968.[4]

Arte Povera and Conceptual Art

Ramos-Poquí belongs to the generation of Catalan artists of the 1960s who emigrated to Paris, London and New York, including fellow artists such as es:Antoni Llena, who also spent time in London, Antoni Miralda, Benet Rosell and Jaume Xifra. Ramos-Poquí’s works from this decade include a series of collages juxtaposing dynamic forms with the use of industrial spray paint to allude to mechanical progress. During the 60s he also produced a series of ‘found objects’ belonging to the consumer market, with which he created assemblages. They reveal the impact of Pop Art and the works of Rauschenberg on his work. The small scale and poetic associations of many of these assemblages from the 60s echo the Surrealist objects by Joan Miró and the boxes by Joseph Cornell, as pointed out by the author Gerald L. Bruns[5] and the art critic ca:Pilar Parcerisas i Colomer.[6] Other assemblages are more explicitly linked to a spirit of revolt. In September 1968 he staged an exhibition and installation of his Arte Povera 'found objects' displayed in boxes and Conceptual Art pieces, consisting of 'photographs of ideas', at the Arts Lab in Drury Lane, London. Because of these works he is considered, according to Catalan Art Critic and Historian ca:Alexandre Cirici i Pellicer, the forerunner of Arte Povera and Conceptual Art in Catalonia.[7]

Geometric Color Field Paintings

His colourfield paintings show the influence of Rothko and North-American Post-painterly abstraction, especially Barnett Newman, Kenneth Noland and Frank Stella.[8] He reached a post-Bauhaus geometric synthesis rooted in theories concerning visual perception, demonstrating an indebtedness to the geometry and colour of Johannes Itten, Rudolf Arnheim, and Josef Albers. In Paris he became acquainted with a Bauhaus pupil of Paul Klee, Mordecai Ardon, while in Chicago he met Gyorgy Kepes who, together with Moholy-Nagy, founded the New Bauhaus (today the IIT Institute of Design in Illinois). Further encounters with Ola Okuniewska (Ola Wolpe) and Clement Greenberg also impacted his work. His passion for geometry continued throughout his career, right up until the present day. During the mid-70s he started teaching in London. His extensive knowledge of the techniques of painting led to him giving a series of demonstrations at the National Gallery and at several art colleges. In London he founded the Essendine Art Centre, where he taught advanced printmaking, life drawing and techniques of painting to young art college graduates. One of the specialized courses focused on 'The Technique of Icon Painting.' [9] The success of the course led to the commission of a book on this subject, published by Search Press Ltd. It has been translated into seven languages.[10]

Paintings, Digital Art and Assemblage (art)

Ramos-Poquí refers to his intimate works of the 1980s as ‘symbolic paintings' which were followed during the 90s by a series driven by urban inspiration known as ‘Satirical and Metaphysical Urban paintings’, executed while he was developing digital photomontages.[11] Having already produced lithographs and etchings, it was during this period that he explored the possibilities of this new digital medium.[12] His digital photomontages were exhibited in London. They were praised by art critics including es: José Corredor-Matheos and reviewed in many London papers.[13][14] In 2001 he was commissioned to design the book covers for the Open University course 'Exploring Psychology.'[15] His assemblages, of a satirical nature, were exhibited both in London and Belfast.

Insect Collector, 2002. Painting on panel
Orwell Prediction, 2003. Digital photomontage
2003, Roots. Digital photomontage
Dangerous Species 1998. Assemblage
Easy Rider, 1999. Assemblage

Painting-collages

His 2014 painting-collages were exhibited at the Royal Artistic Circle of Barcelona alongside some examples of his works from the 60s which he had exhibited in Paris in 1965 at the fr:Cité Internationale des Arts.[16] The art critic ca:Pilar Parcerisas i Colomer reviewed the show for El Temps and noted the works' unique approach to technique which incorporated egg tempera, sand, acrylic and objects from a mirror shard to a clock face. She also pointed out his references to works by the Old Masters, including Dürer's ‘Melancholia.'[17]

Mixed-media collages

In his recent 2014 mixed-media collages 'found objects', text and fragments of reproductions by the old masters interact with the other elements of the composition. Found objects include dried flowers and leaves, insects, feathers, bottle tops and mirrors, broken clocks, pieces of embroidery, threaded paper, fragments of text or musical scores, and crystals. All of these elements possess intrinsic metaphorical values and, in terms of contrasts of textures, colours and formal transformations, relate to the artist's work as a painter as well as his early collages and assemblages. They affirm that the old masters remain an inspiration to contemporary artists today in their endeavour to interpret the world. A catalogue of these collages includes an introduction by Professor David Jasper, an expert in the field of Hermeneutics (University of Glasgow). He describes his mixed-media collages thus:

In the complex and riddling collages of Guillem Ramos-Poquí we might glimpse a recovery of the art of memory as it is rooted in the sense of sight, and in its further verbalisations, a haunting presence of the divine in the midst of the contradictions and strange encounters in the world around us. [18]

Selected Exhibitions

1965-1970 (Collage, Mixed media, Arte Povera, Conceptual Art and Installations

1971-1973: Geometric abstraction: Color Field paintings

1981-1996: Paintings

1997-2004: Digital Art (Photomontages), Assemblages

2007-2014: Painting, Painting-collages, Mixed-media Collages

References

  1. ↑ http://www.timeshighereducation.co.uk/news/beyond-words/148321.article
  2. ↑ http://www.morleycollege.ac.uk/morley_gallery/exhibition_archive/457_morley_gallery_painting_advanced_workshop
  3. ↑ Artists in Britain Since 1945 (Vol 2: M to Z, pp 1312). David Buckman. Art Dictionaries Ltd, Bristol. 2006. ISBN 0 95326095X https://books.google.co.uk/books?id=Hz83XwAACAAJ&dq=Artists+in+Britain+Since+1945+David+Buckman&hl=en&sa=X&ei=KiXeVI3CEMvmUtCjgKgM&ved=0CBsQ6AEwAA
  4. ↑ Artists in Britain Since 1945 (Vol 2: M to Z, pp 1312). David Buckman. Art Dictionaries Ltd, Bristol. 2006. ISBN 0 95326095X https://books.google.co.uk/books?id=Hz83XwAACAAJ&dq=Artists+in+Britain+Since+1945+David+Buckman&hl=en&sa=X&ei=KiXeVI3CEMvmUtCjgKgM&ved=0CBsQ6AEwAA
  5. ↑ 'The Materials of Poetry - Sketches for a Philosophical Poetics' Vol I by Gerald L. Burns https://books.google.co.uk/books?id=D4cEanK0r8QC&pg=PA100&lpg=PA100&dq=Guillem+Ramos-Poqui&source=bl&ots=YmeF_6v6Yx&sig=yWtI6yD6ow-qcuXNe_8zksjFU7M&hl=en&sa=X&ei=OiLeVJ3JJo6X7QaXloHIDg&ved=0CCoQ6AEwATgo#v=onepage&q=Guillem%20Ramos-Poqui&f=false
  6. ↑ Pilar Parcerisas, 'El Temps' magazine, 8 July 2014. pp. 50-53. http://www.eltemps.cat/ca/notices/2014/07/ni-picasso-ni-dali-sino-ramos-poqui-5888.php
  7. ↑ Alexandre Cirici: "L'art català contemporani" - Edicions 62, Barcelona 1970, p. 296 https://books.google.co.uk/books?id=0NMMAQAAIAAJ&q=L'Art+català+contemporani&dq=L'Art+català+contemporani&hl=en&sa=X&ei=1DHeVPKHF4Puas-tgfAB&ved=0CBQQ6AEwAA
  8. ↑ http://www.eltemps.cat/ca/notices/2014/07/ni-picasso-ni-dali-sino-ramos-poqui-5888.php
  9. ↑ https://iconographersireland.wordpress.com/about/
  10. ↑ https://books.google.co.uk/books?id=s7DsAAAACAAJ&dq=guillem+ramos-poqui&hl=en&sa=X&ei=phHeVLTQKYOAU4-rhJAP&ved=0CBsQ6AEwAA
  11. ↑ http://ir.knust.edu.gh/bitstream/123456789/4779/1/Agyemang%20Osafo.pdf Agyemang Osafo, Digital Portrait Painting in Geometric Shapes, Kwame Nkrumah University of Science and Technology Kumasi Thesis, p.32
  12. ↑ http://www.timeshighereducation.co.uk/news/digital-print-and-the-pursuit-of-a-perfect-image/101694.article
  13. ↑ John Windsor, The Guardian, Pixels into Pounds, 27 January 2002, https://www.theguardian.com/money/2002/jan/27/alternativeinvestment.observercashsection
  14. ↑ José Corredor Matheos: 'Història de l'art català Vol. IX (La segona meitat del segle XX)' Edicions 62, 1996, Precursors de del art Povera, manifestacions de lo efímer, els objectes de Ramos-Poquí, pp. 91–92, https://books.google.com/books?id=PlcYAQAAMAAJ&q=José+Corredor+Matheos+Història+de+l'art+català+Vol.+IX&dq=José+Corredor+Matheos+Història+de+l'art+català+Vol.+IX&hl=en&sa=X&ei=mx7eVPzJJ9CvaZfdgLAE&ved=0CBQQ6AEwAA
  15. ↑ http://www.al-edu.com/wp-content/uploads/2014/05/Applying-Psychology-Edited-by-Nicky-Brace-and-Helen-Westcott-The-Open-University-2002.pdf
  16. ↑ http://www.reialcercleartistic.cat/w/467
  17. ↑ Pilar Parcerisas, 'El Temps' magazine, 8 July 2014. pp. 50-53. http://www.eltemps.cat/ca/notices/2014/07/ni-picasso-ni-dali-sino-ramos-poqui-5888.php
  18. ↑ David Jasper. Foreword: 'Reflections on Reflections' from the 2015 Catalogue of Recent Works by Guillem Ramos-Poquí: 'Mirror Spaces: Reflections on Culture and the Ephemeral'.

Catalan Bibliography

Bibliography: Digital photomontages

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