The Perfect Ever 


NGV x recess: Artist Film Program, Melbourne Now, NGV
Video, 2021-23

The Perfect Ever (2021-23) carefully re-edits scenes from the Mexican film 'Las Rosas del Milagro' ('The Miracle Roses', 1960) to hijack the image of the Virgin Guadalupe with an eerie void. The work explores the notion that Science Fiction characters in Hollywood films resemble an audiovisual miracle by exceeding the reality of the set.

This is especially true of filmic adaptations of cartoons or video games, for they actualise icons by bringing them into a photorealistic plane. This is similar to how religious icons begin; as two dimensional renderings that become three dimensional in miraculous tales. In one scene, Ramirez reflects on this perceptual game by replacing an apparition of the Virgin Mary in 'Las Rosas del Milagro' ('The Miracle Roses', 1960) with an iconic reduction of the original Virgin image. Ramirez extends this strategy to other scenes, where he eliminates the dialogue in the source material to isolate the expressions of ‘awe’ performed by the actor, while incorporating a soundtrack. The result is an ambiguous and sinister mirage that points to the palpable yet comical darkness of a divinity briefly visiting earth.

Music by Bonnie Cummings. 

Vampires of the Earth 


MARS Gallery
Various mediums, 2023

Vampires of The Earth is an exhibition inspired by the social mediatisation of petrolium company Pemex’s fire in the Gulf of Mexico in 2021. “The day that underwater gas pipe burst, I received a hilariously performative message checking in on me,” says Ramírez, “a drop of oil came to mind, like a little tear...falling to hell.” The works in the show take this anecdote as a departure point to look at the poetry of crude oil, comparing it to a drop of blood that allures the vampire or a tear that afflicts the melancholic. While seeking to make invisible meanings visible, in the same way that fire makes gas in a broken pipe seeable. Indeed, from the voracity of extractive capitalism, to the performance of feelings on social media, Vampires of The Earth is about the dead, who carry on living.

Following this organising logic of undeadness, the show employs mediums such as neon, which mimic the vampire’s cycle of awakeness and slumber, by requiring electricity same as this creature necessitates blood. While also also incorporating black reflective surfaces that allude to the vampire’s inability to gaze at its own reflection, suggesting the exploitation of fossil fuels are a mirror of our image. Finally, it mines wellness infographics to re-encode the messages of care culture with a death drive – as if infected by the dark gift of vampirism. 

The Conservatives


Available For Opportunities 
Video, 202X

A white cishet couple—Dabria and Cain—return to his apartment after a successful date, where Dabria begins to spot traces of a sinister ideology (right wing extremisism), before Cain discovers that she hides a dark secret of her own (ancient vampirism). Alba, an Anglo woman with a Mexican dad, crosses their path by chance to become the only witness to the extremely gory murder of Cain.

This film shows the moment two white cis hetero lovers kiss for the first time, only to discover one of them carries a ‘sonic virus’ that distorts hearing upon the sharing of saliva. Located within the vampire genre, this work trades in the aesthetics of right wing extremism: a white man in his mid 20s, who unbeknown to his date is a white supremacist, touches lips with a white woman of similar age, who is a vampire. This encounter takes place in his apartment, where she slowly discovers objects that suggest the male kisser is a covert extremist. Once infected with the dark gift from the female kisser, he suffers from an extreme form of cognitive distortion, which manifests on the screen as an experimentation with sound and image. In ‘The Conservatives’, the vampire is a fascist ideology and transmission is radicalisation. Thus, the work purposely trades in a couple that epitomises the target of identity politics. 

This work is based on Ramírez essay The Monstrous Kiss and Its Perversions, which looks at the history of kissing as a community practice in early Judeo-Christianity, where he discusses media that disrupts this legacy, by turning kissing into an act of division rather than union. The vampire’s bite epitomises this perversion as an osculation that inverts values of social harmony.  



Available For Opportunities
Various Medius, 202X

This suite of works reference idioms with materials, such as ‘losing one’s marbles’, to depict emotional states of mind. The artist situates this interest in the Right’s accusation that the Left is made of snowflakes, taking this contempt as a point of departure to investigate emotional sensitivity. A typical work in this series consist of a modified frame containing marbles that have been coated with resin, to immortalise a fleeting moment of perfect turmoil. Since 2021, Ramírez has conducted several  experiments in this vein, which he has released as individual works for group exhibitions. 

This project is motivated by Ramírez’ prose writing, which often incorporates pathos through a comical lens. Seeking to translate this creative senbility into his arts pratice, he began employing marbles for their ability to simultaneously convey humour and distress. It is also an opportunity to explore the melancholic dimension of his key interests, such as the gothic suffering associated with the vampire. While connecting it with his work in the area of cultural criticism. 

The Monster Problem 


Available For Opportunities 
Novella, Various Mediums , 202X

The Monster Problem is a long term project with two components: 1) a manuscript for a novella and 2) an exhibition. This endeavour draws from Ramirez’ trajectory as both an artist and a writer, combining both disciplines in an ambitious outcome. The manuscript is a series of chapters about a fictitious art critic from Guadalajara, Mexico, a cis male who gets bitten by a vampire on the way to an exhibition opening called The Monster Problem. Every chapter onwards recounts a failed attempt by the art critic to attend The Monster Problem, always frustrated by dangerous encounters with the underworld. This plot is humorously framed by the artist kindly opening the exhibition at night for the critic, only to be stood up, in every chapter.

Ramirez acknowledges the Traditional Custodians of the Land where he lives and works, the Wurundjeri people. He pays his respects to Elders past, present and emerging of the Kulin Nation.