About humour, the dictionary tells us that its meaning relates to wit, mood, nature or funniness…But I suspect that the “HUMOURS” proposed  by Jorge are not intended to make us laugh. Neither are they directed at a faked and forced visual emotion at the moment of confrontation. They are, instead, variations of tempers, reasonings, that aim at filtering the taste and arising an emotion.

These HUMOURS convert themselves, in this new approach, in an intention to reflect about some strains, that had already been launched by the previous exhibition “Are you ready?”

What is presented to us in this collection, is ultimately, the purification of some forms and colours ( you should notice that the shape of his canvas became consensual and uniformized ).

In the environments that he previously suggested, he managed to redeem a bigger inspiration capable of involving us. He caught us in the memories that we still keep of that past still so much present, to invite us to occupy the sceneries that he built for us. And that previous challenge has found in here a new  stage. At this point, the rules are different. If formerly we were not allowed to feel indifferent or distant, this time it is even more complicated to distance ourselves. We feel closer, because we are “inside”.
Of course that each one of us can, close to the artist, search for the place where to fantasize, without having made the choice  beforehand. And there is no funniness in this process, because it is rather serious…although faded in the sweetness of his colours, in the sweet and narrow traces of his lines, either strong or thin, drawn in his delicate but thorough techniques.

“The world of the intention transmitted is offered to the interpreter, at the same time that it illustrates him upon his own world” tells us Habermas.

And the intention of this piece of writing is revealed in these words. With them I have reviewed the spirit with which I visited Jorge´s studio, the eyes through which I peaked on his privacy, or the privacy of his work, and the cosiness and comfort they have brought to me.

When before his work, and along the path it take us, we will undoubtedly leave a trace, we will embark in some of our dreams, illusions, fantasies..
.maybe because in THE HUMOUR we will not be able to laugh, because that was not what HUMOURS were intended to! And we will be able to leave, or let us go, cuddled by the story it told us.

And yet we will be able to find the state of seduction in which he had previously placed us, maybe calmer, more tranquil…in my opinion, due to the fact that we had been sheltered and protected by each one of the environments offered to us by HUMOURS. Or are they created and inhabited by ourselves depending on our moods?

I cannot help it… with a smile ( without  giggling)
I already know which my favourite painting is, where I will stay and reinvent this visit, this coming together, my illusion, or fantasy of making or being part of it!

Humores | 2005

In essence, taste translates itself in the unexpected expression of a diversity of emotions.
The reaction of the public, inherently to the spectator point of view, in the relation with the work of the artist, overlaps the spectrum of all interests associated to all kind of different means. It can melt itself into forms, techniques, colours, supports, and the intentions of the creator’s gestures, assuming almost always an exterior dimension to all the creation acts or procedures. It is as if the work itself carried the possibility and the practice of seduction, wisely captivating the unprepared lover. And the resulting passion does not find limits in the writing that accompanies all or any need of transcribing what is not said.

Nevertheless, in the proposal that Jorge Ramos presents us, we are attracted to expose ourselves facing his “mechanics”. In a smooth but colour marked palette, his chromatic composition makes us feel relaxed but embedded in the articulated movement of his figures. It is as we all were diluted in the gestures that have been mapped by the brush movement, or by the adjustment of his “Magical Broad Brush”, as represented object –the same thing that is described by himself as being an electric element, with multiple functions, capable of assuring promptness and or instantaneousness. The movement that he provides us, also reveals itself, in a curious technique that combines the art of painting and the dedication of embroidering. The meticulous attitude of “tracing” his canvases with practice demonstrates his ability of giving himself up.

Almost all his compositions oblige us to a reflection in “availability terms”, which is also our own. In function of all daily life, in the limits that we claim to modernity , they make us hesitate between the speed and the intensity. These are reasons that infer a vast conjugation of bodies or represented objects,  resultanting of the interests that the artist desires be considered. They are poetic fruits associated to loneliness, affection, sex, love, but that are related in opposition with coldness, with coldness, with the off position of machines,or with fraction of Jorge’s narratives. It is as time or the space of feelings or emotions was broken by the formal detachment of his pictures; and temptation is transported by the desire of never seeing them apart.

I like the eggs. I appreciate the intentions of “compartmentalizing them” in an immediate register  (in the sense of giving them place or space), or in the imagery being able to devour them. It is the will of playing a part in his composition or ingesting it in fury; As if in an uncontrolled gesture of time and its hypotheses, we all were actually carried on the worn out pointers of a clock.

Ready, announces, shows and exposes itself capable of appeasing those that did not  believe. It is also capable of making those that will not fallow the instructions or the manuals of its ingenious and temperamental “machines” explode with fury. The artist is ready to continue, to captivate us , even in detail. Withdraw those that will not be capable of converting or assimilating this dynamics. The device is set, the indifference is also not allowed, concerning each of us the gesture or the possibility of making this magnificent “gear” work. Adventure yourselves and fallow all the instructions.The challenge is for everyone. Are you ready?

Ready | 2006
Texto | Alexandre Gonçalves | Lisboa  | Novembro |2003

I like the flowers. I like the animals. I like the animals who are wolves. I also like the birds, the birds that can fly. I like the squirrels. I like the lines that Jorge assumes in his imaginary world. It is about the imaginary of all the references, which this time takes us to his childhood.
We are not only able to identify but also to encounter ourselves; because it is in this language that these new works dialogue and communicate.
It is undoubtedly a self-representative stage of his personality, of all his desires and the speculating dimension that he finds in himself.
It is a work that goes far beyond the portrait or the self-portrait, due to the fact that in his work the artist has found the vehicle that transports us beyond his own image.
As a matter of fact it is him, but in so many stories that can also be ours.
There is not any artificiality or masks of others, because the expressions that outlive in the different stories that he proposes are always his. I even dare to get hold of the idea of survival because I believe that we can all rescue the strength of going further in this dynamism.
As a matter of fact, this may be an idea or even a simplified sketch from my point of view, that may be negatively affected. Still, I will risk taking a look to see.
I believe it is a naïf observation, that in some moments can come close to kitsch.
It is obvious that I surrender myself to the bright colours of this scenery. I also find myself prone to kisses. I can easily get lost, jumping from one picture to the other, from life to life, assuming new roles.
Forget all about the dimension of the spectator and find yourselves in one of these canvases, taking part in a new plot, where Jorge is taking us by the hand.

Peolpe of the loom | 2009
Text| Alexandre Gonçalves | Lisbon | 2008

Humores | 2005
Ready | 2006
People of... | 2009