WATERCOLOR AS DEVIR
"The world of watercolor differs by the presence of the transparencies as hallmark". It is precisely in the areas where the nuances are more present there is the deepening of this technique, consisting in the conversation between water, paper and pigment in a large study of possibilities.
The trajectory of The Ivone. Ramos includes continuing search for an increasingly enhanced visual development process. In this sense, to choose one of his favorite themes, the dance, has the concern focused his gaze on the movement of the dancers, as well as their positions.
What is at stake, is the most figurative work as those in which the abstraction is present, It is the way of thinking about space and conceive it as a world in which we must act according to criteria that are being formed by the dialogue between tradition and innovation, between a few certainties and many doubts.
It is when cutting the references and performs color passages Ivone The. Ramos reaches its densest moments. "Thus establishes the steps of its own proposal, in which is not limited to what you see, but plunges in what is not shown and what the watercolor allows in terms of becoming. "- Oscar D´Ambrosio, journalist and master in Visual Arts by UNESP Arts Institute, It integrates the International Association of Art Critics (AICA - Brazil Section). www.facebook.com/odambros
Where did you born? And what is your academic training?
SP was born in and raised in Paraná State. Formed in Social Work by FMU.
How and when you give your first contact with the Arts?
I always liked to draw and color. When I returned from Paraná to SP, I started attending the Paulista Association of Fine Arts, where I gave my first contact with the arts.
How did you find this gift?
I think I was born with this gift. Since primary school drew and it colored my notebooks. I was delighted when a cousin (artist) He drew and painted a rose for me to see. I never forgot this pink.
What are your main influences?
I admire the work of two artists, I think that influence me. TURNER, by its color and brightness. Emil Nolde by the vividness of colors.
What materials do you use in your works?
Currently working with watercolors on paper and, sometimes, acrylic on paper or canvas.
What is your creative process itself? What inspires you?
My favorite subjects are musicians and dances. My father was a musician in bands and so this is a recurring theme in my work.
When you started effectively to produce or create your works?
In 1993, when I made the first sales, I felt encouraged to continue creating.
Art is an intellectual production exquisite, where emotions are embedded in the context of creation, but in art history, we see that many artists are derived from other, following technical and artistic movements through time, you own any model or influence of any artist? Who would be?
Made lessons for years with the watercolorist LUIZ ZEMINIAN, that was the one who always encouraged me and gave me a direction in my career watercolorist. Was, so my mentor.
What does art mean to you? If you were to summarize in a few words the meaning of Arts in your life…
Art is everything in my life. I do not know live without color, stains, the fluidity of watercolors, its lights and shadows.
What techniques do you use to express their ideas, feelings and perceptions about the world? (Whether it is through painting, sculpture, drawing, collage, photography… or uses several techniques in order to make a mix of different art forms).
Express my ideas through drawing and painting using different materials (watercolor, gouache, pastel, ink and various pens) always on paper or canvas.
Every artist has his mentor, that person whom you mirrored that encouraged and inspired you to follow this career you, going ahead and taking your dreams the other expression levels, who this person is and how it introduced you in the art world?
I consider as my mentors, my teachers Magali Jansen and Luiz Zeminian. It was they who encouraged and supported me in my first exhibitions. My first exhibition was in conjunction with Magali Jansen, a demonstration of credit to my work. Luiz Zeminian appointed me to Revelation Prize Watercolor the Paulista Association of Fine Arts, which gave a boost to my artistic career.
You have another activity beyond art? You give lessons, lectures etc.?
Currently I stopped teaching. Expose in group exhibitions and also shows Arts, in public parks.
Its major national and international exhibitions and their awards?
As for international exhibitions… I do not have. What they have are many watercolors sold to tourists who go to Praça Benedito Calixto in Pinheiros-Capital district. Then my work runs the world…
I also have custom watercolors are in the Netherlands, London and France.
I did not mention awards because, those are very old and had been few. They were in APBA… Silver Medal and Prize Revelation Watercolor.
Exhibitions in Brazil
- Single Bookshop Shopping Culture Butantã-SP;
- Collective in the Commercial Association of Pinheiros-SP;
- Individual Literary Passage in the Consolation-SP;
- Single in SP Court;
- Collective Gallery in Licia Simoneti in Limeira-SP;
- Conference at the 43st World Congress in Dance Research in Campinas-SP;
- First Watercolors Exhibition of Piracicaba-SP;
- Exhibition at the Cultural Center Gallery Alberico Rodrigues-SP;
- Collective ART IN FORUM, the Jabaquara-SP Regional Forum.
Your plans for the future?
Plan for the future: continue painting a lot and me perfecting increasingly.
In your opinion what is the future of Brazilian art and its artists? (in the general context) and why so many artists are giving preference to show their work in international exhibitions despite high costs?
The Brazilian art will always have its place, with so many good artists and matured. As international exhibitions, I think the preference is not to be selection for sending jobs, even with the high cost. Not counting, which may be included in curriculum.
I have noticed that some traditional galleries are closing activities. Artists are giving preference to exhibit at Cultural Spaces. In your opinion what would be the cause?
Working with Gallery is difficult. The work takes on a value exacerbated, At my point of view, which makes the complicated sale. What's up, exhibits a preference for in cultural, where the artist and curator can negotiate more likely to sale.
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