Ramiro Gomez's effective commentary on modern day Los Angeles takes on multiple styles and mediums, all of which include a similar theme. The hard workers behind the scenes of picturesque homes, tailored gardens, and spotless streets. A very blunt observation, but also one of recognition. This concept runs throughout his work, however he utilizes past masters to deepen his ideals.
Gomez derives his work from a variety of artistic sources, specifically heavily from David Hockney and his very obvious appropriation. Both have a similar outsider view on life in Los Angeles. David Hockney, an English transplant, came to L.A in the 1960's, painting the lesser looked at features of the city. Boxy apartment buildings, vacant swimming pools, and unsuspecting portraits, all depicted in a luminous palette of bright colors, illustrating the bright blinding sunlight of the city. Working as a live-in nanny, Gomez also had a different outlook on his environment and took these Hockney scenes, painting strikingly similar compositions, color palettes, and architecture, but with different subjects. It provides a deep recall of what Hockney was noticing about L.A in the '60's, comparatively viewed with Gomez's current view of not only Los Angeles's residents, but one of the reasons for its prosperous beauty. It is not only a hard edged topic he is trying to display, but also just the simplicity of taking Hockney's vision and recreating it to show how that image is possible. The glossy, picturesque homes and manicured lawns are juxtaposed with the truth behind them.
A more recent exhibition at the Charlie James Gallery in Los Angeles, On Melrose, shows a literal enlargement of Gomez's unique style. Large scale acrylic paintings depict famous landmarks along Melrose Avenue, as well as the workers who maintain these areas. Gardeners and pool boys have been replaced with leaf blowers, landscape maintenance, and painters. Because of the enlargement, Gomez has the opportunity to focus more on the architecture of the avenue, the backdrop to his scene. They are no longer big boxes of color, but more realistic depictions of foliage and a greater sense of the space itself. As the backdrop becomes more pronounced, Gomez depicts his characters as almost faceless, creating a sense that we know they are there but we don't always necessarily see them. Gomez blatantly shows the unspoken nature of these scenes, in examination, but also in homage