Interview with Ramón Rivas
Ramón Rivas was born in Lands of Don Quixote (Castilla-La Mancha / Spain), a land rich in literary and artistic heritage. His family environment and the multidisciplinary influence of his professional activity; in sports, music, engineering, inventions and art, in Castilla-La Mancha and Madrid, he was decisive for the artistic creation, of a very personal and different style, called Rivismo, based on the application of Experiential Brushstrokes. During the last nineteen years, his research has managed to reinforce the Concepts and Philosophy that predominate in Rivismo and that have given prominence to the material elements to which he has assigned aspects, functions and values of people.
He applies his imagination to develop creative and innovative works that interact with the viewer. Create images with great precision, with surprising density and with a depth that visually captivates.
Renowned art professionals have recognized the exceptional originality and aesthetic appeal of Ramón Rivas's work. His talent has been recognized through individual and group exhibitions held in several countries, including Spain, China, South Korea, Italy, Denmark, France and the United States. He has actively participated in art fairs in the United States and his art is proudly displayed in museums in Spain, Denmark and South Korea. Ramón Rivas's artistic contributions have also appeared in numerous books, magazines and art catalogues, consolidating his presence in the art world. Furthermore, this exceptional talent has been honored with prestigious international awards, further cementing his reputation as a distinguished artist.
Throughout the following interview you will be able to learn more personal and artistic information about the interviewed.
Your background is incredibly diverse, encompassing sports, music, engineering, and more. How do these varied experiences influence your unique artistic style, Rivismo?
When analyzing an artist, it is best to evaluate the amount of past he carries with him in his life cycle. The amount of experiences that you have lived and that you can continue to live and, above all, if they are acquired in multiple and diverse fields, leads to loading your mind as if it were the hard drive of a computer and being able to store them so that at the appropriate moment can be described and applied. Describing lived experiences is a fairly safe path to becoming an artist.
On the other hand, the main source of knowledge is experience. Taking into account that information is generally scarce, it will only acquire value if it is mixed with experience. Knowledge is limited, and that is why it is necessary to apply imagination, which is more versatile than knowledge and, above all, with much broader limits.
Once we have stored the information, it is time to recognize that the experience is not what happens, but what the artist does with what happens to him.
Regarding my experiences, I can affirm that the quantity and diversity of my professional activities have allowed me to store many professional experiences in various fields, including communication, organization, design, advertising, marketing and executive roles as an industrial engineer, inventor, national tennis coach and musician.
The experiences acquired in participating in these activities have led me to describe and apply them in the world of contemporary art, through my personal artistic style called Rivismo. This artistic contribution applies an exclusive concept that is Experiential Brushstrokes. These brushstrokes use the experiences of materials, objects, devices, etc. as a pictorial element. Personal experiences have led me to know and describe the experiences of material elements that have intervened in the story of personal experiences and that are protagonists in the realization of my works of art.
Your work is described as transforming paintings into 'walkable spaces'. Could you elaborate on this concept and how you want viewers to interact with your art?
Experiential Brushstrokes carry a lot of information related to materials, elements, devices, etc. For example, a piece of metal sheet from a car that is broken, rusty and has scratches of a different color than its own. Analyzing this scenario, it can be deduced that the car to which the plate belongs suffered an accident, that it collided with another vehicle of the same color as the scratch, and furthermore, that this element has been exposed to adverse weather conditions for a long time. These data express their experience. In another stroke, several geometric cubes can appear inserted one inside another and pictorial paintings, graffiti, etc. appear on their walls. And many more strokes with great diversity of information. This highly concentrated information makes it advisable to use large-sized supports - canvas, aluminum, plastic.
To build the previous phase of the content of the painting and its story, I carry out a work of concentration, reflection and visualization, with the aim of finding all the inspiration I need to be able to express myself as I wish. When I have established what I want to capture and tell, it is time to apply my technique and my personal style of Rivismo.
Once the work is finished, the pictorial scene represents a series of brushstrokes, figures, textures, formulas, surprising compositions, etc., that rest on the canvas. The general space could be visually divided into small spaces, and due to the great information provided by the Experiential Brush Strokes, the entire space could be divided into numerous paintings and each of them analyzed independently.
Having developed your own style called 'Rivismo', how has this style evolved over the years, and what challenges did you face in establishing it in the contemporary art world?
My past has been steeped in art since I was a child, participating in the artistic work that my family did and, later, that which I did with my multi-professional activities. All the information and previous experiences in which I participated led in 2005 to officially create my personal style that I called Rivismo. The Philosophy and Concepts of Rivismo were developed verbatim and registered in the Intellectual Property.
The use of Experiential Brushstrokes, which impregnate the painting, materials, elements, etc., with their own lived experiences, makes my works timeless. I can make works in 2024, with brushstrokes that contain experiences in their materials dated, for example, fifty years earlier. I tell stories with brushstrokes that belong to very different times and that coexist in the same pictorial setting.
The evolution of my works is a function of my imagination. I agree with Einstein, when he said that “imagination will take you everywhere” and also, that “knowledge is limited and imagination goes around the world.”
In this context, the evolution of my style will be a function of my imagination. So far my imagination has been my best ally and, also, I have noticed that I have not lost intensity in my creativity and the more I use it, the more I have.
With these magnificent tools, I can program the evolution of my style as I bring new concepts to the stage of my work. For example; tell political, social or environmental problems using mathematical and physical formulas, solving equations, etc. Use unpublished languages in painting such as Morse, to build stories, narrate literary texts and impregnate the work scenario with the use of a new concept; “Experiential Morse.” In relation to the use of new technologies, apart from using specific programs and multimedia, Artificial Intelligence could be a tool to develop the Philosophy and Concepts of Rivismo in an evolutionary way. I insist on using it, only, as another tool that feeds my imagination and develops my creativity more intensely without distorting my unique and personal work.
As for incorporating my work into the contemporary art world, it has not been a challenge. The fact of creating something truly unique by applying a different style to the existing one, with unprecedented and surprising pictorial representations, has caused very positive expectations among art lovers and glowing reviews from professionals towards my work.
In Rivismo, you emphasize a balance and equality between the 'weak and the strong’. Could you elaborate on the philosophical roots of this approach? How do you believe this balance impacts the viewer's perception and emotional response to your art?
Since my childhood I have been in contact with materials, elements and devices. I have witnessed and participated in work carried out by my family companies with all types of material that could be present; broken, rusty, wrinkled, etc., and in which I have participated for its restoration.
This familiarity with the materials helped me one day to turn on my light bulb and start my path in the world of art, as described in the following paragraph:
One day, early in the morning, I was walking to my school. Suddenly and very close to me, I saw how a truck that was delivering drinks collided with a small vehicle that was parked. The truck driver realized what he had done and without approaching the car to see the damage and act accordingly, he separated from the vehicle and began a quick escape. I was amazed by this performance. Thanks to my experience in these types of accidents, since my family's company was also dedicated to repairing damage in these types of accidents, I reacted quickly. I kept the truck's license plate number. I tore a page out of my school notebook and wrote in a note the details of the truck and how it had happened. The glass in one of the doors had broken and was the place where I introduced the note. The end of this incident was positive for the injured party, in this case the weak one.
From what happened and despite my young age, I was able to recognize a situation of inequality; the strong against the weak, and also, a lack of empathy from the truck driver towards the owner of the small vehicle. I mentally transferred these purely human concepts to the two damaged vehicles. The materials of the truck are heavier and more resistant than those of the small vehicle. I thought that it would be fair for the strong to help the weak, to put themselves in their situation and create a fair state of balance. From this reflection, I focused my efforts to create, among the material elements, a balance between “the weak and the strong” and apply it in my work.
In my work “Organic Transmutation”, the weak element, a fried egg, is transformed into a cogwheel. The toothed wheel, which is made of steel, transmits its strength and exclusive function to the egg. In the end, a balance is established between both elements. But there is also the situation that said wheel has a crack and is sewn by a weak element, the thread. Also in this case a balance is established, strong-weak. When it comes to two weak elements, the less weak one plays the role of the strong one and transmits its strength and function to the weaker one, just as happens with clouds (weak), sewn together by a thread (strong).
These concepts; philosophical, molecular, metaphysical or however they are interpreted, they are part of the Philosophy and Concepts of Rivismo, whose application through the Experiential Brushstrokes, allow material and immaterial elements to participate equally in the artistic narrative. This approach establishes a conceptual balance between non-human elements, which embody human-like relationships, empathy, equality and role reassignment.
When the viewer looks at the interaction between these elements in the painting, he can establish a similarity with what really happens in the human sphere and support the social struggle existing in the world to achieve Equality; gender equality, wealth equality, equality for peace, etc.
Throughout your career, you've achieved significant recognition and have been honored with prestigious awards. Could you share with us the journey that led to this level of acclaim? How have the challenges and milestones you've encountered shaped your artistic vision and approach?
As I have explained before, my journey into the art world was not a sudden leap but a gradual immersion. I was extremely lucky to grow up in a creative environment that was the best school to develop and perfect my artistic talent. These artistic influences have contributed to giving me a unique creative vision and originality that has been recognized by renowned art professionals, who have attributed to me a talent that enhances my distinction in the art world. I have to specify that I have achieved this recognition without depending on the study or application of other artists' techniques. This independence from outside influences has increased my commitment to creating new and surprising works of art, and above all, taking greater responsibility for the uniqueness of my artistic expression.
The information that I have been inserting both on my personal website, on my Blog or on Social Networks, has been the driving force so that professionals and art lovers have noticed my work. From this moment on, it has been professionals from the art world who have invited me to participate in; Exhibitions with present works, Virtual and Online. I have also been invited to participate in; books, magazines, catalogues, interviews, etc.
The uniqueness and aesthetic appeal of my work has been rewarded with prestigious international awards.
All this international recognition has been the protagonist in positioning me as a distinguished artist on the world art scene.
The fact of being positively accepted in the difficult world of art, and in this case, contemporary art, gives me enough incentive to consider new milestones that, without a doubt, will charge my batteries, increase my creativity and give full freedom to My imagination. The result, new, more innovative artistic creations that surprise and excite, and at the same time, revitalize the uniqueness of my artistic production.
With fame and recognition often come increased expectations and public scrutiny. How do you balance staying true to your artistic integrity while also navigating the pressures and demands that come with being a well-known, award-winning artist? Has this visibility influenced the themes or methods in your art in any way?
I was fortunate to receive a good education, mainly, from my parents, who made it clear to me that when a person has special qualities, they must apply them to the maximum in the moments that are required and achieve the objectives set without asking for any compensation or award for the work done.
This positive way of educating has led me to optimally apply my creativity, my imagination and my skill to develop my work. Therefore, if you have the qualities to do a job well, you must try to do it even better, and consider its positive result as an obligation.
Applying these concepts to my artistic works, I consider that what I do is normal, and that the qualities; talent, creativity, etc., that I have and that I apply, should not pursue the search for a very special prize such as fame. Criticism and certain awards can be indicative to determine that you are on the right path and that the objectives are met. But fame can be a trigger that stops the exceptional nature of my artistic work.
My only boss is me. I decide and plan my work with the personal tools I have and leave aside aspects that may negatively influence my creative development. I turn off possible speakers of fame and other aspects that may cloud my unique creative activity.
I use my concentration to isolate myself from any negative disturbance, which allows me to work in optimal conditions, to be able to connect my creative process, which is deeply internalized with the repository of experiences and information stored in my mind.
Your work is described as having a strong personal identity and a flair for surprising and exciting new artistic proposals. Could you share more about how you developed this unique artistic identity, and what inspires you to continually push the boundaries of creativity and innovation?
As I have detailed in the previous paragraphs, my artistic work is linked to my experiences, in such a way that Rivismo is not only my artistic style; It is the culmination of a lifetime filled with diverse experiences and skills, all converging to create something unique in the art world. This degree of connection in which activities and experiences have been present in my daily actions, gives my style a personal and unique character. The description of my experiences in my own works also defines me as an artist with a personal and unique stamp.
The experiences in which I have participated and the information I have acquired from my school education to university have allowed me to accumulate a collection of multiple and diverse things; from material elements; iron, stones, wood, bubbles, devices, etc., even immaterial elements; mathematical formulas, equations, sequences, thoughts, etc.
Giving the green light to the freedom of fantasy, I achieve a state of creation and healthy daring, which allows material and immaterial elements to participate equally in the artistic narrative. This fantasy promotes a conceptual balance between non-human elements, which embody human-like relationships; balance of forces, empathy and role reassignment, among others.
By writing specific scripts for these unpublished elements, I can easily push the limits of creativity and innovation, and create a visual feast for art lovers who interact with the observed work.
As a successful artist, how do you define 'success' in the art world, and at what point did you feel you had achieved it? Could you share a pivotal moment or project in your career that you believe was instrumental in establishing your success?
Analyzing the contents of some publications, it can be interpreted that in general, “success” consists of living your life in accordance with your values, choosing your own goals, making your own decisions.
“Being successful” is your ability to appreciate what you have, to find satisfaction in everything you do, and to feel happy in every moment, without depending on the recognition of others.
Extrapolating these reflections to the world of art, it is easy to insert them into the daily life of any artist that will serve as a guide to achieve their objectives in an honest way. However, very specific qualities, such as creativity, imagination, knowledge, accumulated experiences, etc., play a very important role in achieving “success”. The performance of these skills will create a creative route that can be checked and evaluated at its travel points. In such a way that one of the points can represent an exhibition, others; an art prize, a book, an interview, etc., and logically, the importance of the institution where the exhibition was held, the prestige of the prize received, the magnitude of the number of books published by the publisher and the audience of The media where the interview is published will be indicative that the artist's career is following the desired route. The path to moving through art is very long, so there are many points to evaluate your artistic career. The more points there are and the better they are valued, the greater the prestige of the artist and the more efficient the dissemination and promotion of the artist and his work will be. Criticism can have a positive influence with knowledge of these aspects.
In my case, the points on this tour have been occupied by information on the Internet; my website, personal blog and social networks. At important art fairs and exhibitions. In prestigious awards, in books, magazines, catalogues. In interviews. The response from the audience who has seen my works and the criticism received from professionals have been excellent. But for me, this positive response that they have given at different points only represents an indication that I am on the right track and achieving my objectives. “Success” will come one day when you have traveled many kilometers. The actions carried out at each point have been equally valuable to me, and there are none that, in and of themselves, define a “success.” As I have already mentioned, this rating will be the sum of what has been accumulated in each point and when I have worn out many sneakers on the difficult path of art.
Every artist has unique sources of inspiration and a distinctive vision for their work. What are the main sources of inspiration that drive your creativity? Looking forward, what new directions or projects are you most excited about exploring in your art?
Throughout this interview I have explained that I grew up in a creative environment that for me represented the best school to develop and perfect my artistic talent, which was consolidated with my university education, sports and my professional roles. The multiple experiences and the close contact with diverse material and immaterial elements inspired my mind to give free rein to my imagination and fantasy. In this situation, my creativity, -in the innovation phase-, does its work creating scripts for these material and immaterial characters, to which it assigns human values and functions. Once the roles have been assigned, I construct the story to be included in the work scenario.
I still have many experiential elements lodged in the hotels of my mind. Some have been resting for a long time and are ready for action. I will incorporate them into future projects and they will be the designated protagonists to delight and surprise art lovers.
Looking ahead, what new themes or projects are you excited to explore in your future works, and how do you plan to continue surprising and captivating your audience?
Because of my university education in the field of science, I had the opportunity to be in contact with expressions and formulas, both in mathematical calculus subjects, such as; resistance of materials, chemical formulas, general and quantum physics, Fibonacci and Fourier series, etc. My purpose, already explained in previous answers, is to make these varied and complicated formulas interact in such a way that the resolution of a mathematical, physical, etc., problem included in the composition of the painting helps to tell the story that we want to discover and that is hidden in that composition.
I will also introduce the language of Morse, with the intention that literary texts, news, etc., can be read at the same time that the symbols and artwork included in the space of the painting are contemplated.
Somehow I will maintain my presence in Exhibitions and important Art Fairs and I will continue to participate in books, magazines, catalogs and interviews.
