Guillem Ramos-Poquí Biography, Age, Height, Wife, Net Worth and Family

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 Cité internationale des arts. 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.

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:

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. Having already produced lithographs and etchings, it was during this period that he explored the possibilities of this new digital medium. His digital photomontages were exhibited in London. They were praised by art critics including es: José Corredor-Matheos and reviewed in many London papers. In 2001 he was commissioned to design the book covers for the Open University course ‘Exploring Psychology.’ His assemblages, of a satirical nature, were exhibited both in London and Belfast.

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) and Lecturer in Advanced Painting at Morley College (2004–2012). He has exhibited extensively in London and abroad.

In 1965 Ramos-Poquí was awarded a fellowship from the French Government to work in Paris and was given a studio at the Cité internationale des arts in Paris 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.

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 Rossell 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 and the art critic ca:Pilar Parcerisas i Colomer. 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.

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.