COVER IMAGE: Is Tropical

Oil on Linen, 100x100cm, 2014

8 Clarendon Cross | W11 4APlaceycontemporarygallery.co.uk

MERLIN  RAMOS lives and works in London. He received his BA in Fine Art from Falmouth College

of Arts, Cornwall in 2007 and an MA at the Prince's Drawing School where he went on to be an artist in residence the

following year.

Merlin describes himself as a pseudo-surrealist landscape painter with roots in drawing and painting. Merlin works from a

viewpoint of the observed space and then overlays personal meaning onto the spaces he chooses. He questions what the

spaces possibly once meant to us and how they challenge us now. A flickering between interior and exterior, no beginning

and no end, the paintings expose the direct purpose and process of the paint. The unusual conforms of architecture and the

distorted perspective where objects and buildings melt into one another create a playful exploration, leading the eye from

one element to the next.

SKETCHES  AND  PROCESS

“My work circulates around nuances of personal spaces. I start by sketching observed imagery -

sketches inform collages and the collages inform the canvases - for any one subject matter there is a

three stage process with each feeding into the other. Sections are zoomed in on and zoomed out - it

a bit like an archeological dig, with fragmented pieces all coming together.”

- Merlin Ramos

Merlin produces intricate sketches that act as the starting point for his canvases. Sketches are pulled

apart, cut and reformed to create distorted collages which feed in his paintings heavily laced with

personal meaning like trinkets from a dream. In his most recent and future work, Merlin intends the cut

up skteches to sit alongside the final work, juxtaposing the process with the work.

Storm Forward

acrylic & oil on polyester

61x61 cm, 2014

The Tribe

oil on linen, 51x61cm, 2014

STUDIES  IN  GEOMETRY

“I want the viewer to take an architectural language away with them, an atmospheric world with a

realisation of perspective but not in a blueprint way. An observation of my studies in geometry, the

collage as a visual stimuli and rhythm.”

As part of his process, Merlin uses geometric puzzle blocks to inform his initial sketches and canvases.

These blocks act as a tool to help Merlin represent solid objects in his paintings. The three dimensional

blocks also inform the artist’s representation of light and shadows, and contribute to the element of

realism in his work.

Turbulance

oil on linen, 100x100cm, 2014

Fallen Geometry

oil on canvas, 122x91, 2012

Crystal Maze

oil on linen, 122x91, 2014

Tropical elements are another important feature of Merlin’s recent work. They can create both a rythmic,

moving atmosphere in his paintings, as well as being subtle, restrained, and solemn.

Merlin’s painting technique involves starting with thin layers of paint, building up to thicker layers using

varnish, damar and linted oil. In each painting, Merlin is considering the textures on the surface of the

painting - whether that be gloss or matte, thick or more dilute.

“Ramos’s paintings are ways to return to the more innocent times, to remind you of the beautiful wild

flowers when you walk pass while staring on the screen of your smartphones; to recapture the first

poignant moment you have in the city, it may be a smile of a love one, or just a feeling of bliss, deci-

phered into visual stimuli.“ - Jason Chung Tang Yen for Avenir Magazine

IS  TROPICAL

Is Tropical

oil on linen, 100x100, 2014

Levels of Calm

oil on linen, 76x60cm, 2014

Merlin’s newest paintings are all taken from an image of Royal Festival Hall on the South Bank in London.

They deal with Rhythm, movement and repetition. This is seen within the elements of brutalist

architecture, and the way in which Merlin creates a strong sense of geometry and harsh angularity.

“I feel the images represent a modern ‘podular’ city style of living, reminiscent of Pod hotels in Japan

and the image of the future in Luc Besson’s film ‘Fifth Element. It could remind people of tower blocks,

drawers or storage, all of which are relevant comparisons.” - Merlin Ramos

The use of a more subdued palette focuses the viewers gaze on the buildings repetition which is

re-itterated by using grayscale and reds and blacks as it gives the eye time to concentrate on the light,

shadow and form.

Rhythm   and   repetition

Festival

oil on linen, 100x100cm, 2014

A History of Weather

oil on linen, 40x40cm, 2014

Saturnalia

oil on linen, 40x40cm, 2014

MERLIN  RAMOS   |   CV

EDUCATION:

2009-2010 Artist in residence at The Prince’s drawing School, The Tea

Building London

2008-2009 The Drawing Year, The Prince’s Drawing School

2004-2007 Falmouth College of Arts, Cornwall; Fine Art; Ba (Hons)

EXHIBITIONS:

2014 ‘Field Trip’, Display London Gallery, Holborn, June

2014 North Louth Painters, 2014 Guest Artist, April

2014 ‘£weatshop’, Gem Space, Dalston, March

2013 ‘Gifted’, Chart Gallery, Chelsea, December

2013 Strarta Art Fair, Representing Fad Conteporary, Saatchi Gallery,

Chelsea, October

2013 ‘Shot’ Kristin Hjellegerde’s Arteco Gallery, Wandsworth, August

2011 ‘Stop Look Listen’ , Cob Gallery Camden, August

2010 “New Paintings,” The Light, Shoreditch high Street, September

2009 North Louth Painters, 2009 Guest Artist, November

2009 Flatlake Arts Festival , Northern Ireland, July

2009 “Colourists,” Queen’s Elm Artist’s, Chelsea, London, July

2009 “Merged,” Shoreditch Town Hall, London, February

2007 “Daydream Select,” Studio 33, Carnaby St., London, April

2006 Riding for the disabled, Charity Auction, Christie’s, London, Sept

2007 “What next ?!, Part 2, 35a Gallery, Brighton, June

2007 “What next ?!” Zed shed, Penryn, Cornwall, May

2004 Grande Café colonial, Bilbao Metro, Madrid, May

2004 9 Raglan Road, Dublin 4, Sept

BACK IMAGE: Meditation and Ritmo

oil on linen, 100x100cm, 2014