Approved: 21.03.2016

Natalie Ramus

Artist

Approved: 21.03.2016

With my exploration of the materiality of the body I attempt to connect with the innately performative body in view of it's visceral, abject qualities. Through the re- presentation of bodily materials (such as hair or skin), that have universal familiarity through subjective experience, I am interested in how the gap between viewer and artwork or artist can be bridged; the viewer becomes hyper-aware

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    Biography

    With my exploration of the materiality of the body I attempt to connect with the innately performative body in view of it's visceral, abject qualities. Through the re- presentation of bodily materials (such as hair or skin), that have universal familiarity through subjective experience, I am interested in how the gap between viewer and artwork or artist can be bridged; the viewer becomes hyper-aware of their own body, therefore having an empathetic, perceived physical experience. I often use my body within my practice as a way of reclaiming space and time. This reclamation is motivated by my desire to challenge, illuminate and confront the expectations of women to exist within a restrictive framework of socially expected behaviour in a patriarchal society. I am fascinated with the public-private and appropriate-inappropriate dichotomy that surrounds discussions in relation to the body. My questioning is driven by assumed acceptable modes of behaviour in society, specifically when discussing the concept of the female in public space. As a mother I feel much conflict between the label of mother and how I feel as a mother, artist, feminist, etc. The notion of what qualities society thinks makes a ‘good’ mother is problematic and I wonder how the role is performed on a day to day basis. Through the juxtaposition of the immediacy of the body as battery of memory, as site and material, and domestic, seemingly nostalgic, memory-imbued objects which often carry immersive qualities through scent, (such as bread, milk or soap) I am interested in how time and memory become elastic; and how meaning is an inherently subjective perspective. 

    CV & Education

    EDUCATION.

    MASTER OF FINE ART. CARDIFF SCHOOL OF ART AND DESIGN. 2016. DISTINCTION

    BA HONS FINE ART. HEREFORD COLLEGE OF ART. 2015. FIRST CLASS

     

    GROUP EXHIBITIONS.

    2017. PRETTY IMPERFECT KITCHEN. BRACKNELL FOREST. 

    2017. SOUR TIMES. MABGATE BLEACH. LEEDS.

    2017. POST TRUMP. FIVE YEARS. LONDON.

    2017.THE FEMALE GAZE: AN INTROSPECTION. THE DEPOT CLAPTON. LONDON.

    2017. NEW ART WEST MIDLANDS. MAC. BIRMINGHAM.

    2016. RAMUS|EVANS COLLABORATIVE. DIALOGUE:DETRITUS. SPIT AND SAWDUST. CARDIFF. 

    2016. BLURRING THE BOUNDARIES: SUBCONSCIOUS COLLABORATION. CARDIFF. 

    2015. FLOATART. THE BARGEHOUSE. LONDON.

    2014. FINE START 2. APPLESTORE GALLERY. HEREFORD.

    2014. MAPPING TERRITORIES. RAVENSBOURNE. LONDON.

    2011. OF THE FLOWER AND OF THE FIELD. ARTWORKHOUSE GALLERY. ABERGAVENNY.

     

    PERFORMANCES.

    2018. FOLLOWING IN//FOOTSTEPS OF. 2 HOUR DURATIONAL. TEMPTING FAILURE BIENNIAL FESTIVAL OF PERFORMANCE ART AND NOISE. CROYDON, LONDON. 

    2017. FULL MOON WALKS. RAMUS//JOHNSON COLLABORATION. WELSH BORDERS. (ONGOING UNTIL 2018)

    2017. MOTHER'S PRIDE. 9 HOUR DURATIONAL. BUZZCUT. GLASGOW.

    2016. GWAITH. RAMUS|EVANS COLLABORATIVE. CARDIFF CONTEMPORARY. CARDIFF. 

    2016. IT DOESN'T FIT ANYMORE. PANIC SERMONS @ MODERN PANIC VII. LONDON 

    2016. 16000:3. 3 HOUR DURATIONAL. EMERGENCY. MANCHESTER.

    2016. SITE: REQUITE: TRACE. 3 HOUR DURATIONAL. SKELETON HOUSE. LONDON. 

    2016. 16000:1 OPENING & 16000:2 TEETH(OF)MY CHILDREN. TEMPTING FAILURE. LONDON. 

    2016. MADE UP. WITH WATER IN MY MOUTH: NOVELTY MAGAZINE LAUNCH. RED GALLERY. LONDON.

    2016. DOMESTIC INTERCHANGE. BLURRING THE BOUNDARIES. CARDIFF.

     

    RESIDENCY/FELLOWSHIP.

    2018-19.  RANDOM STRING FELLOWSHIP. COVENTRY.

    2018. 24 HOUR RESIDENCY. SPIT & SAWDUST. CARDIFF.

    2017. GRASSLANDS. BIRMINGHAM. 

    2017. LINES IN THE LANDSCAPE CONTRIBUTING ARTIST. SIDNEY NOLAN TRUST. PRESTEIGNE.

    2015. SIDNEY NOLAN TRUST. PRESTEIGNE.

     

    AWARDS.

    2018. ARTS COUNCIL WALES RESEARCH AND DEVELOPMENT GRANT.

    2017. NEW ART WEST MIDLANDS OPPORTUNITY AWARD.

    2015. ELMLEY FOUNDATION GRANT.

    2015. CHURCH STREET CHARITABLE TRUST FUND GRANT.

    2015. MEADOW ARTS GRADUATE PRIZE.

     

    WRITING.

    ONGOING. ART CURATOR FOR WOJO MAGAZINE.

    2018. COMMISSIONED TEXT FOR 'FIVE YEARS ON' EXHIBITION PUBLICATION. BIRMINGHAM MUSEUM AND ART GALLERY. CURATED BY INDRA KHANNA.

    2016. TEMPTING FAILURE PERFORMANCE REVIEWS FOR SUE FOX, HELENA GOLDWATER, JIN BELLS AND ROBERT HESP.  INCIDENT MAGAZINE. 

     

    PROJECT.

    IN APRIL 2013 I WAS SELECTED TO PARTICIPATE IN A COLLABORATIVE PROJECT WITH STUDENTS FROM BOTH A VARIETY OF DISCIPLINES AND ART COLLEGES ACROSS ENGLAND. THE PROJECT WAS INITIATED BY THE NATIONAL ARTS LEARNING NETWORK. IT SPANNED A PERIOD OF A YEAR IN WHICH WE WERE ENCOURAGED TO EXPLORE AND PRODUCE WORK IN RESPONSE TO THE CONCEPT OF MAPPING TERRITORIES. THIS CULMINATED IN AN EXHIBITION AT RAVENSBOURNE (2014). MORE INFORMATION AVAILABLE AT: http://mappingterritory.arts.ac.uk