Irving Ramó is an artist born in Quito, Ecuador. His artistic line of work questions language and seeks to reinterpret ancestral symbols placing them within a contemporary context. Fine arts, visual arts and multidisciplinary design have been his main fields of inquiry and work.

An important creative approach is the one that he has developed as a designer and art director for the Ecuadorian music band “Swing Original Monks”. In collaboration with them he has produced within the lines of graphic design, scenography and visual arts. He has a peculiar boldness that is reflected in the way that he treats images.

These facts make Ramó a provocative and impulsive creator (cambié por personaje pero sino te gusta puedes poner character). His last pictorial research revolves around the experimentation with signs, enhancing a deep examination of writings and graphs from Prehispanic times. This has evolved and become along time a creation of an imaginary writing system, which is combined with a more classic plastic language in his current work.

The result from such investigation is a proposal where realist techniques of painting dialogue with reinterpreted symbols from Latin-American culture and geometry. The piece “Signes” was exhibited in the Fine Arts Martillo studio in Barcelona (Spain) and in the Woodfers Gallery in Miami (U.S), during 2016.

In June 2017, he inaugurated his work “Ofrenda”, coinceived and performed together with architect and contemporary artist Felipe Escudero. The exhibition was part of the II International Meeting of Arts Research organized by University of the Arts in Guayaquil City. Ramó’s quest this time was focused on semiological research and recoding processes. He looks to deepen into past to reach another future, an aspirational one, for which it uses an imaginary system of visual pieces installed as an encrypted alphabet, using stone and acrylic painting on canvas.

This same work was exhibited also as a pop-up show in Brooklyn Home of Music, in Brooklyn, NY in July, 2017. In September of the same year, it was included as part of the Annual Art Show of Spread Art NYC, in Brooklyn. He has developed a short career in street art as well, and has a sort of murals signed with his name in Quito as same as in other cities worldwide In 2016, he participated as an invited artist on Gar Gar Fest, in Penelles (Spain), and in July 2017, Ramó painted in Brooklyn, NY a collaborative mural among two recognized Latin American street artists: Guache and Praxis.

Irving Ramó completed his formal studies in Quito, Ecuador, and owns a degree on Industrial and Graphic Design from Universidad de las Americas. Regarding his facet as a designer, he has shown relevant interest on morphology, and has used it as an intersecting principle of many of his projects. His work stands out for its great sensitivity, and for its strong investigative bases. He uses design as an unconditional resort evident even in his artwork. In 2016, he founded REM Studio in Quito, along with other designer friends. REM is the base for his projects on graphic design, art direction, scenography and video mapping.

In 2017, he received the Platinum Award for “Best Work” in the Creativity International Design Awards – 47th Edition for the packaging design of SOMOS album of the Ecuadorian eclectic band Swing Original Monks.

Moreover, in 2016, he integrated the artists selection of the 1st Edition of Fiesta de La Luz Quito, with his light installation “La Plaza de las Palomas Caídas”. In August 2017, Ramó was invited as visual artist to participate in the electronic music festival Acid Case, produced by the famous venue House of Yes and The Caravan Gitane, in Brooklyn, NY where he worked also as scenographer for Dj’s like Acid Pauli and Baris K. He still works with The Caravan Gitane as graphic designer and visual creative.

Gen is his most recent artwork and was exhibited on September 2017, in Quito, Ecuador in +Arte Gallery. By using oil, acrylic and spray painting on canvas, plus inserting sculpted elements on stone and an interactive visual installation, he strengthens his pursuit of language understanding. Gen is the door to encounter a symbiosis of color study, geometry and morphology as a way to represent the invisible: the power of heritage, communication, and the prevalence of an eternally fluctuating energetic web.

Ramó remains researching, impassioned by his fixation for aesthetics, for temporal tensions, and semiotics as a handful of many of his concerns that give rise to new work.