Leticia Ramos is an artist for whom countless experiences in the studio are central to her practice. For the artist, photography represents a form of chemical-mechanical magic whose creation relies both on empirical research and experimentation and drives towards an aesthetic intersection between the documentable and fictional. Her complex images synthesize technique and illusion by exploring the limits of analog photography.
Ramos began her career by building makeshift cameras and using X-Rays in order to control and understand the subtleties of the chemical process. She has since eliminated the camera altogether and now relies on different techniques of capturing light to create her images. The artist achieves this through photograms, which are photographic images made without the aid of a camera by placing objects directly onto the surface of the photographic paper while exposing it to light. This results in a 2D impression of 3D forms.
Ramos expanded on the photogram and eliminated the object altogether. Instead, she created sculptures using pure light and exposed them to negatives, capturing the trajectory of the light onto the silver gelatin of the paper. Her investigation on the mechanics of creating a photograph without a camera led her to pursue the notion of creating a landscape without a landscape.
“My choices are interfered with by the scale of the real, the materials available on the market, in the studio, in antique stores, the adaptations, and recycling. The project is not untouchable, but rather it interacts with these different spheres and adapts itself all the time before reaching its final form.”
– Leticia Ramos
This scientific exploration of the image unites fictional narratives with the historical reality of the landscapes. Her desire to question the authenticity of the image has allowed her to develop a new understanding of it. Political instability fuels many of Ramos’s core ideas. Her works are relics of a past action – they are products of archeological excavations that have become artificial realities. Yet, however tumultuous and bleak the political contexts may be, her aim is always the same — to portray hope.
Letícia Ramos (1976, Santo Antônio da Patrulha) lives and works in São Paulo, Brazil.
Her selected solo exhibitions include Resiliency and Reverberation, Mendes Wood DM, New York (2019); História Universal dos Terremotos, Pivô, São Paulo (2018; HISTÓRIA UNIVERSAL DOS TERREMOTOS, Itinerarios XXIII, Fundación Botín, Santander (2017); VOSTOK – Um prólogo, Pivô, São Paulo (2013); Bitácora, Mendes Wood DM, São Paulo (2012); Escafandro, La Bande Video, Quebéc (2011); ERBF – Estação Radiobase Fotográfica, Centro Cultural São Paulo, São Paulo, (2009/2010).
Additionally, her work has been included in institutional group exhibitions such as O Triângulo Atlântico, 11ª Bienal de Artes Visuais do Mercosul, Porto Alegre (2018); corpoacorpo, IMS Instituto Moreira Salles, Rio de Janeiro / São Paulo (2018); Biennale Jogja XII, Jogja (2017); Hercule Florence: Le nouveau Robinson, Nouveau Musée National Monaco, Villa Paloma (2017); 18º Festival de Arte Contemporânea Sesc Videobrasil – Panoramas do Sul, Sesc Pompéia, São Paulo (2013); Expo Projeção 1973-2013, Sesc Pinheiros, São Paulo (2013); Se o clima for favorável / Wheather permitting… 9ª Bienal do Mercosul, Porto Alegre (2013); Programa de Fotografia, Centro Cultural São Paulo, São Paulo (2012); Trilhas do Desejo, Rumos Artes Visuais, Itaú Cultural, São Paulo (2009).