Guillem Ramos-Poquí

Recent Paintings

three gardens 08

"Three Gardens" 2008
45 cm x 122 cm (18" x 48")
Egg tempera, acrylic, encaustic, oil, and mixed media on linen prepared with chalk ground

Guillem Ramos-Poqui  Garden with a City in the Distance 2009

‘Garden with a City in the far Distance' 2009
Egg tempera, acrylic, oil, and wax on linen canvas prepared with chalk ground

"Garden" 2008
23 cm x 40 cm (9" x 16") Oil and wax on linen

"Journey to the Land of Erewhon". 2006
2006. 42 x 57 cm (16 1/2" x 22 1/2 ")
Egg tempera, egg-oil medium,
acrylic, and wax, on gessoed board Inspired by a novel by Samuel Butler


"Gethsemane". 2008. 45.5 cm x 56 cm (18" x 22"). Acrylic, pigment, sand, oil, wax, on linen prepared with chalk ground

  La mañana en un jardín (Morning in a Garden“) 2008
56cm x  45.5cm  (22” x 18”) Acrylic, encaustic, oil, and mixed media on canvas

"The Young Pianist". 2008
22" x 18" (56cm x 46cm). Acrylic, oil,encaustic,andmixed media
on hessian-jute mounted on linen, primed with a chalk ground


"The Expulsion of Paradise (After Masaccio)",2008
12" x 15" (30.50
cm x 38.25 cm)
Egg tempera, acrylic, casein, oil, encaustic and mixed media on a collage of various
cavases of different wefs (hessian-jute, cotton) mounted on linen and primed with chalk ground

Imaginary Garden in Nepal, 2008
49cm x 37 cm (19.5" x 14.5")
Acrylic, encaustic, and mixed media, on Nepalese hand-made paper

Private Collection of David Verey

"Rosa sin espinas en el rincon de un jardin"" 2008
(Rose Without Thorns in a Hideen Garden" 2008)
28 cm x 23 cm (11" x 9")
Acrylic, encaustic, oil and mixed media on hessian-jute prepared with chalk ground, and mounted on linen


"The Artist's Studio: Easter 2007". 2007

21.3 cm x 30.3 cm (8 3/8 " x 12"). Egg tempera, acrylic, oil-egg tempera,
wax and mixed media on gessoed board. Private Collection

"Nuntium" (Messenger). 2006

27 cm x 30.5 cm (10 1/2 " x 14 1/2 ") Egg tempera and glue on sand, tissue paper, and thin canvas, on gessoed board

"Portrait of a Young Pianist", 2008. 30 cm x 30 cm
Mixed media/collage. Hessian, jute, and fine cotton fabrics mounted on hand made paper,
primed with chalk ground, with colour glass pieces over photo, painted with acrylic, oil and encaustic


Meditátio (Reflection). 2007
56cm x 76 cm (22” x 30”) . Egg tempera, acrylic, wax, and mixed media, on linen canvas with gesso ground

Theophaneia (Manifestation) 2006-2007
56cm x 76 cm (22” x 30”) . Egg tempera, acrylic, wax, and mixed media, on linen canvas with gesso ground



Guillem Ramos-Poquí

Recent Paintings 2006

In general terms each painting deals with a juxtaposition of multi-dimensional spaces, which are often landscapes, gardens, or scenes.

Images therefore float free from gravity and interconnect though colour sequences, as in a musical composition.

Composition means an overall geometry, which includes proportions, rhythms and patterns, and although I often make preliminary drawings to choose from, the final composition is arrived at purely intuitively, and not by a pre-meditated rational construction.

Colour sequences play with cold-warm modulations, also including those achieved but different degrees of hue saturation (or degrees of brightness or gray of a colour). Texture and colour become very important and are deeply interwoven so the surface becomes physically vibrant, tactile, for the purpose of energizing the dynamics of space.

Freedom from gravity means the use of several horizons, where images, in the ordinary scheme of things, may appear upside down or sideways, or embedded. Also means a creative disregard of relative scales and the combination of simultaneous interior-exterior viewpoints.

Perspective, therefore, is invented. It serves no other purpose than what it really is, a visual “perspective on things” rather than an illustration - or a conventional, scientific, formal exercise. Therefore, memory, creativity and imagination play here an important role.

Figurative or representational elements are only suggested, or hinted at and, as such, may only appear at the very last stages of the painting, and only once their background colours and textures are resolved in terms of overall composition. Their function is not to describe or illustrate but to enhance the definition of certain areas, without interfering with the overall impact of the composition as a whole.

The overriding intention is that the painting will, to begin with, impact the viewer by its sheer overall physical aesthetic presence, without being distracted by representational elements - these can be identified later by further scrutiny, if the viewer is interested in entering the work at an other level.

It is not, therefore, that the suggestion of figurative elements is superfluous or arbitrary, or that the painting is treated as an abstraction, but that the painting, as an artifact, is there to assert its own presence, a sense of what painting is through its physical qualities (size, colour, texture, etc) and, at the same time, acting as a door, or passage, to an inner vision of reality.

The inspiration behind the works derives from novels, metaphysical ideas, the journey through life, memory, and Scripture. The titles of some of the paintings are written in Latin or in Greek, with an approximate translation into English. Titles hint at the subject matter and as such are part of the painting, and when given in Latin or Greek it is because I feel these languages hold a timeless dimension.

"...I just looked at your artwork on the web and I am very impressed.  They are so beautiful and pleasing but also full of energy and life.  The use of color and placement convey meanings and expressions that words can never touch...."
Diane McKinney
Missouri State Archives



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