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Manuel Ramos (Madrid, 1969), graduated in Fine Arts from the Complutense University of Madrid in 1998, specializing in painting. For Ramos painting has always been his natural means of expression.

Among the latest exhibitions in which he has participated are “Graff en Méditerranée” at the Mucem in Marseille (France, 2017), “Exposition de peinture abstraite géometrique”, held at the Colegio de España in Paris (France, 2018) and the collective exhibition of the 4th edition of the Festival de las Artes Ciutat Vella Oberta, held at the Museo de la Ciudad de Valencia (Spain, 2019).

Manuel Ramos has been working on abstract geometry since 2010 and within this artistic current he develops three main ways of plastic expression: what he calls “Rigid Geometry”, “Minimal Abstract Geometry” and “Transparent Abstract Geometry”.

In “Transparent Abstract Geometry”, solid geometric shapes evolve into more ethereal, blurred, blurred shapes in soft color gradients that subtly suggest a certain depth of field. At first Ramos investigates this via digital design, as he believes that acrylic painting limits its technical possibilities in the realization of tonal gradients. But the need to find a pictorial practice that would allow him to materialize his ideas leads him to consider applying aerosol painting on canvas.

The use of the aerosol will allow him to create gradients, glazes, as well as speed in its execution and drying. In the works he makes within his “Transparent Abstract Geometries” he uses the technique of stencil, which basically consists of sprinkling pigment (in this case in spray) on the pictorial surface excepting the parts that have been previously protected.

When selecting the chromatic palette of his compositions, Ramos bases his work on the so-called Psychology of Colour. Thus, the ranges of blues (to which concepts such as serenity, confidence, intelligence, concentration are attributed), greens (nature, health, freshness) and greys (solitude, emptiness, reflection) are the protagonists of his works. In this way, in the grey paintings he introduces subtle and minimal traces of intense orange colour (warmth, joy) that contrast and charge the composition with energy.

Manuel Ramos defines his creative process as “paradoxical” according to the concept of “open opera” proposed by Umberto Eco, where the works are not subject to a single meaning, but have broad interpretative possibilities, so that it is each viewer who gives a different reading. On the other hand, the painter is of the opinion that “each painting is master of the next”, that is to say, each work is the starting point of the next, because in them he resolves the technical difficulties that arise and defines the aesthetic line that he wants to follow, which allows him to continue his process of self-learning.

A constant in the artist is that of stimulating the imagination of the spectator, as he himself points out: “my main approach is to establish a dialogue with the spectator where painting is the means of meditation that stimulates the imagination”.