Skin
Arquivo | Porto | 2013

1/28
Belly Button l Técnica mista sobre madeira l 54 x 54cm l 2012
2/28 Emphaty l Técnica mista sobre madeira l 54 x 54cm l 2012
3/28 Bugaboo l Técnica mista sobre madeira l 54 x 54cm l 2012
4/28 Choke l Técnica mista sobre madeira l 54 x 54cm l 2012
5/28 Clinic Happy l Técnica mista sobre madeira l 54 x 54cm l 2012

6/28
Empathy
7/28 Free l Técnica mista sobre madeira l 54 x 54cm l 2012

7/28 Garden l Técnica mista sobre madeira l 54 x 54cm l 2012
9/28 Hard Core l Técnica mista sobre madeira l 54 x 54cm l 2012

10/28 Fling l Técnica mista sobre madeira l 54 x 54cm l 2012

11/28 Hot Ear l Técnica mista sobre madeira l 54 x 54cm l 2012
12/28 Interaction l Técnica mista sobre madeira l 54 x 54cm l 2012
13/28 Rock You l Técnica mista sobre madeira l 54 x 54cm l 2012
14/28 Kinky l Técnica mista sobre madeira l 54 x 54cm l 2012
15/28 Bound l Técnica mista sobre madeira l 54 x 54cm l 2012
16/28 Mad l Técnica mista sobre madeira l 54 x 54cm l 2012
17/28 No Carbo l Técnica mista sobre madeira l 54 x 54cm l 2012
18/28 Bling l Técnica mista sobre madeira l 54 x 54cm l 2012
19/28 Pool l Técnica mista sobre madeira l 54 x 54cm l 2012
20/28 Punch l Técnica mista sobre madeira l 54 x 54cm l 2012
21/28 Ring l Técnica mista sobre madeira l 54 x 54cm l 2012
22/28 Rubber l Técnica mista sobre madeira l 54 x 54cm l 2012
23/28 Intimacy l Técnica mista sobre madeira l 54 x 54cm l 2012
24/28 Twins l Técnica mista sobre madeira l 54 x 54cm l 2012
25/28 Twins l Técnica mista sobre madeira l 54 x 54cm l 2012
26/28 Twins l Técnica mista sobre madeira l 54 x 54cm l 2012
27/28 Twins l Técnica mista sobre madeira l 54 x 54cm l 2012
28/28 Twins l Técnica mista sobre madeira l 54 x 54cm l 2012
fechar texto x
The series “Skin” by Jorge Ramos is constituted by the combination of matters/supports, consisting the first impact of this in the paradox and the inversion of values which establish themselves through iconography or by the lack of it.
On the one hand, the spotless skin of the “beasts”, embedded in such perfect symmetries, concealing not only their manufacturing but also their previous organic origin; on the other hand, the most traditional support – the canvas – used as the background for the representation of a skin covering only vaguely an irrigated and lively flesh, thus contributing even more to the fading out of its reality, in contradiction with the “veracity” of the photographic “trompe l’oeil”.
The organic and inorganic parts of the supports, including the plastic, cover their origins and reverse them through the presence and/or absence of other signs of human presence– the cavities.
Trough both we are able to perceive a body not only capable of expelling but also of embracing us.
In a second “insight” we are confronted with an unusual type of self - representation, brought to us by the fragmented shape in which it appears and/or is exposed, a kind of parody to the self-centredness implicit in all self-portraits.
Does the author focus on his own navel? Or on someone else’s?
The “depersonalization” of the author and his work emerges from the paradox between  the individual and the diversity, with the proximity between the “beast” and the human, opposed identities which simulate themselves through a false industrialization of a “doing” which generated a series of constant, visceral, pulpy, static and synthetic shapes.
They are parts of a body which murders itself and repeatedly comes back to life. This body can belong to everybody thus making it impossible to know to whom it might in fact belong.

Skin | 2013