Bony Ramirez
A heartfelt portrait of the Dominican Republic
“Depicting my childhood experiences and scenes is a way of not letting go of memories.”
Bony Ramirez makes paintings that celebrate his Caribbean roots. Nature is a big part of that – as it was central to his childhood growing up in the Dominican Republic. Wildlife and greenery pop up regularly in his paintings. Plus, the figures he paints are close to nature too – they often go barefoot and their limbs are long, distorted and plant-like. Just like his inspirations, Ramirez paints from memory. Once he’s sketched out a design, he builds up colour with paints and pastels. Art history wise, the artist looks back to the 16th century Italian movement Mannerism. Like his own work, the...
Bony Ramirez makes paintings that celebrate his Caribbean roots. Nature is a big part of that – as it was central to his childhood growing up in the Dominican Republic. Wildlife and greenery pop up regularly in his paintings. Plus, the figures he paints are close to nature too – they often go barefoot and their limbs are long, distorted and plant-like. Just like his inspirations, Ramirez paints from memory. Once he’s sketched out a design, he builds up colour with paints and pastels. Art history wise, the artist looks back to the 16th century Italian movement Mannerism. Like his own work, the Mannerist’s combined nature with humans, in bold, vibrant portraits.
Alongside celebrating the Dominican Republic, Ramirez also confronts the impact of colonialism. He represents violence through his repeated use of swords. In No Fue El Final (2020), a woman in a 16th century dress has a gory neck wound from a sword creeping into view. The symbolism shows the threat of danger that comes with being an immigrant in America. Both nostalgic and vital, Ramirez’s paintings act as a portal to the peace of his former home.
Bony Ramirez (he/him) was born in 1996 in the Dominican Republic. At the age of 13, he moved with his family to New Jersey, United States, where he continues to live and work.
Ramirez couldn’t afford art college in America. Instead, he worked in construction with his uncle. Despite only having one day off a week, he spent it painting.
Ramirez used to buy second-hand paintings from thrift stores and use them as canvases. To disguise their textured surface, he pasted paper over the top. Today, he still uses this method, but now works on linen stretched onto oak board.
