Liquid Squeeze

New York, New York
January 7 -February 8,1997

Paul Henry Ramirez clearly grew up with Dr. Suess. His creepy crawlers, bubble gum colors, and minutely detailed renders of hair are testament to that. The installation piece he has done on the office wall at Caren Golden, replete with bold splashes of paint and vinyl, instantly recalls the painted waiting rooms of the pediatrician's office. But Ramirez' world is far from one based in childhood. All grown up, and tackling issues of sex and the body with a refreshingly sophisticated frivolity, he shows us that such sociopolitical concerns need not always be approached with a heavy hand. Ramirez seems to be saying , in pretty simple terms, "isn't it interesting how our orifices, organs, and bodily fluids look? move? interact?"

Untitled (Liquid Squeeze Series), 1996 acrylic on canvas, 42"x42"

Not to say that these works are "simple." Ramirez' message is delivered with a controlled, clever clarity. Because the brightly colored shapes wind and weave their way through his surfaces with such ease, the works are equally enjoyable on a formal basis. Almost.

It is wonderful to smile aloud while looking at art. And increasingly rare, particularly when viewing art dealing with the sex/gender thing. But who can resist chuckling at Ramirez' flying, bulbous breasts? Or his oversized penis, gently stretching across the canvas to cozy up to an unrecognizable bright blue, hairy form? Or his Picasso-esque distorted female figure in a wild shade of peach, pubic hair at one end, overdeveloped nipple at another , and a brown, arguably fecal form tucked in a lower crevice?

None of these images was meant to shock. Rather, they highlight the comical things that our bodies really do. And places them in settings that appear anything but natural. The strongest work in the show is the most minimal. In it, stretched horizontal shapes cover each side of the canvas. On the left, the peach form sprouts a mini-penis, which in turn offers a growing pile of shit/pubic hair in dark brown. On the right, a blue form, presumably the female counterpart to the peach "male," projects from its center a triangular shape covered with intricately painted strands of black hair. Eventually, it evolves into a splash of liquid droplets, right next to the phallus of it's partner. Emerging from a purposeful white ground, the culmination is quite erotic. Especially when we thought we were just goofing around.

Entitled Liquid Squeeze, Ramirez' exhibition works on a number of levels. Not only do the images appear to be squeezed and squirted onto the canvas and paper. They also refer to the prototypical "main Squeeze" overtly sexual, ready, and available. These are fun paintings, with a twist. And an adult sense of humor.

Lissa McClure




			New York, New York January 7 -February 8,1997
		Paul Henry Ramirez clearly grew up with Dr. Suess. His creepy crawlers, bubble gum colors, and minutely detailed renders of hair are testament to that. The installation piece he has done on the office wall at Caren Golden, replete with bold splashes of paint and vinyl, instantly recalls the painted waiting rooms of the pediatrician's office. But Ramirez' world is far from one based in childhood. All grown up, and tackling issues of sex and the body with a refreshingly sophisticated frivolity, he shows us that such sociopolitical concerns need not always be approached with a heavy hand. Ramirez seems to be saying , in pretty simple terms, "isn't it interesting how our orifices, organs, and bodily fluids look? move? interact?"

	Untitled (Liquid Squeeze Series), 1996 acrylic on canvas, 42"x42"
Not to say that these works are "simple." Ramirez' message is delivered with a controlled, clever clarity. Because the brightly colored shapes wind and weave their way through his surfaces with such ease, the works are equally enjoyable on a formal basis. Almost. It is wonderful to smile aloud while looking at art. And increasingly rare, particularly when viewing art dealing with the sex/gender thing. But who can resist chuckling at Ramirez' flying, bulbous breasts? Or his oversized penis, gently stretching across the canvas to cozy up to an unrecognizable bright blue, hairy form? Or his Picasso-esque distorted female figure in a wild shade of peach, pubic hair at one end, overdeveloped nipple at another , and a brown, arguably fecal form tucked in a lower crevice? None of these images was meant to shock. Rather, they highlight the comical things that our bodies really do. And places them in settings that appear anything but natural. The strongest work in the show is the most minimal. In it, stretched horizontal shapes cover each side of the canvas. On the left, the peach form sprouts a mini-penis, which in turn offers a growing pile of shit/pubic hair in dark brown. On the right, a blue form, presumably the female counterpart to the peach "male," projects from its center a triangular shape covered with intricately painted strands of black hair. Eventually, it evolves into a splash of liquid droplets, right next to the phallus of it's partner. Emerging from a purposeful white ground, the culmination is quite erotic. Especially when we thought we were just goofing around. Entitled Liquid Squeeze, Ramirez' exhibition works on a number of levels. Not only do the images appear to be squeezed and squirted onto the canvas and paper. They also refer to the prototypical "main Squeeze" overtly sexual, ready, and available. These are fun paintings, with a twist. And an adult sense of humor. Lissa McClure