Charlie James presents Domestic Scenes by Ramiro Gomez

Charlie James presents Domestic Scenes by Ramiro Gomez

Show Runs Through: January 11th – February 15th, 2014

Ramiro Gomez – Domestic Scenes

Ramiro Gomez was born on June 24th, 1986 in San Bernardino, CA. His parents immigrated from Mexico and established themselves in the Inland Empire region east of Los Angeles. In 2009, Ramiro moved to West Hollywood and took a job as a live-in nanny for an affluent family. While on duty, he observed the many Latino workers who would arrive daily to assist in the household maintenance. Growing up as a member of a working class Hispanic family himself, Ramiro sympathized with their work and began a series of observational drawings that would later form the body of work he titled “Happy Hills”. This body of work, the artist explains, is a “…documentation of the predominantly Hispanic workforce who work tirelessly behind the scenes to maintain the beautiful imagery of these affluent areas.”

Through the help of social media, Gomez’s paintings and street installations in Beverly Hills began to garner attention. The immigrant experience is the exclusive focus of Ramiro and he continues to expand his work in a public manner. His practice honors the contributions of the many individuals who work diligently on a daily basis to provide a better life for themselves and their families.

Ramiro Gomez was selected by the West Hollywood Arts and Cultural Affairs Commission in 2013 to present The Caretakers (Los Cuidadores), a new art installation of painted workers installed as a series of figurative murals in West Hollywood Park. His work has also been acquired by the Museum of Contemporary Art, San Diego.

Ramiro Gomez was recently named as one of the ‘Top 25 Young Artists to Watch’ by Art Voices magazine. He has been featured in The Huffington Post, NPR, CNN, and The Atlantic Cities. His recently made artworks investigating issues of immigration that he installed near the gates of the White House and in Arizona that received national coverage in the Los Angeles Times and the Washington Post.

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