Questions and Answers

My "friends" at myspace asked some questions about my work.

Ramiro Rodriguez Question and Answer

Waking up from the American Dream asked:
“Have psychedelic drugs played a major role in inspiring your art? I have found that through the use of such substances I have an increased sense of creativity and visual capacity for artwork that I create.”

While most things in my life play a role in contributing to my art making I wouldn’t say that drugs play a major role in inspiring my art. I just don’t have the stamina (or time) to mix the two. However, I do drink a lot of coffee while working.

Jimmy asked:
“Got any more plans on working with Tool?? On a shirt or maybe designing something for that "live dvd" we are all awaiting..?”

If they ask I will be happy to oblige. I haven’t had any requests lately. Whatever they do, I’m sure will look fantastic.

Th3rd3y3 and EHNB (scott) asked:
“What is your inspiration?”
I try to be open to inspiration from wherever it chooses to come from. I help it along by reading stuff that interests me, listening to all sorts of music, watching interesting films, having discussions with great friends that talk about ideas, my wife usually brings things to my attention that I may have otherwise missed, watching my boys and family, etc.

U4icide asked:
“How do you overcome days/weeks/months where you feel uninspired or unmotivated?”
It’s really difficult but I try not to get too down on myself. Everything works in cycles and there has to be some recoup time before a swing into action. When I can’t think of anything I try not to, that is, I do something else, turn my attention elsewhere and try to ingest things that will feed the creative impulse – watch a show, listen to some music, read, sketch, go talk to people. Sometimes I just try boning up on my skills or just go back to working on something that was left unfinished in order to find a place to re-launch from.

Sonya asked:
“How much importance do you place on the formal training you received in your artistic area? Do you feel that it (college art classes, apprenticeships, etc.) are beneficial? Needed? Required? Or do you feel that it could possibly stifle one's creativity because they are constantly being influenced by outisde points of view? I ask this in reference to style, ideas, etc.”

I place great importance on the training I got. Everyone is different but I don’t think anyone learns much in a vacuum. Being in contact with others who are working toward similar goals helps one realize things faster than if one slugs away at it alone. As far as being stifled, I think imposed parameters can only feed the creative output. Creative people always find a way to work around those restrictions. I think that is when some of the best stuff is created.

Beth asked:
“How old were you when you decided to be an artist? Are you kids as artistic as you?”

I’ve always liked drawing some of my earliest memories are of drawing on the insides of paper flour bags. I’ve been blessed with a very supportive family who always reinforced my strengths. They kept saying I was probably going to be an artist and eventually I believed it too.
My boys have artistic streaks in them. How far they take it is entirely up to them. Having two artistic parents certainly doesn’t hurt.

Somebody, Somewhere (tali) asked:
“if you could live one other person's life, and then go back to yours and live yours again, who would it be and how different do you think yours would have ended up as a result of it?”

I don’t think I could live someone else’s life. I believe I’m here for the one I got and should make the most of it. For the sake of your question I’ll say: One of my great grandparent’s life. I think that it would give great direct insight into what made me what I am.


Lea asked:
“Your work is an obvious expression of your interpretations of: consciousness, spiritual exploration, the human condition, sensory perception etc., so what, if any, "answers" about existence have you learned in your life and/or artistic endeavors?”

I don’t know that I have any definite answers but the posing of questions has been most interesting. My work is more about trying to express some of the questions in various forms in order to get more thought energy involved, both from the viewer and myself. I believe everything is a vibration and we are all more connected than we realize.

Sinji (Christophe) asked:
“I'd like to know more about where you're coming from, your studies and when you discovered how to express your works at best.”

If it’s a resumé you want you can see it at RamiroRodriguez.com. Where I’m coming from: I’m just trying to create images that I want to see out in the world. I happen to come from the “go with what you know” school of thought. Therefore, most of the ideas for my work are drawn from my interests in world myth, the Jungian concept of a collective unconscious, meaning in everyday occurrences, ritual and a search for self.
The process of discovering how to best express my ideas is ongoing. I’m always looking for a better way to show something – that’s half the fun.



Holy Pink Floyd asked:
“How has your work evolved over time & where do you see it going in the future?”

My skills and technique have improved with time and practice, my ideas evolve as my view of the world changes with age and experience. The “grand scheme” ideas have been pulled closer to myself and are much more personal than before. I don’t know where the work is going exactly. There are projects I’d like to accomplish, like more painting, installation and film. I just hope that I continue to have the opportunity to do what I love to do.

Jonna asked:
“do you listen to music while you work? if so, do you let it take you in unexpected directions?--maybe different that your initial inspiration/intention/direction?”

Oh yes! I can’t live without music. There is always music playing when I work. Music is my muse. I try to remain open to wherever a particular piece wants to go. Yes, sometimes music has often times presented a solution or direction for a particular piece.

JasonPaul asked:
“what piece of art that you've done do you think you will be the most remembered for, or perhaps the most 'timeless'?”

I hope I haven’t made it yet but right now it is probably for “Caduceus” which has been used for the Tool poster and inspired the name of Maynard’s wine line.

Tom Burns asked:
“what are your favourite linoleum blocks to cut from? (brand)
how do you register multi colored prints?”

I don’t have any favorite linoleum. I’ve tried regular floor linoleum, shoe rubber and stuff from Daniel Smith. I don’t really use it much. I prefer wood - poplar or birch faced plywood. The poplar has a much nicer grain than the birch but may be harder to find.
Registering blocks: I have only started to do multi colored prints with multiple blocks so I’m still perfecting my method. However, I’ve found that building a jig that will hold the block on two sides as well as account for the overall size of the paper. I work backwards. First I carve the block that has the line work, ink that and transfer to a sheet of waxpaper using the sides of the jig to line up the waxpaper to the block. Next I place a new block on the jig, line up the printed waxpaper and transfer that image onto the new block. This way I know both blocks will match where they need to be. Once the color blocks have been cut using this matching method I use the same jig to help me print the final color runs.


Shaun Buehler asked:
“What, in your opinion is at the root of your fascination with submersion in water? Is there any singular event, maybe traumatic, or subconscious, that you are referencing?”

Probably that I floated in amniotic fluid for 9 months…
It’s an ongoing search for that answer but I have always lived and spent most of my youth playing around water (streams, lakes, ponds). It’s a gentle yet powerful force, we have approximately the same ratio in our bodies as the globe has on its surface, the list goes on. I’ll refer you to my website for some more on that subject.

Nic asked:
“In your early paintings, do you see yourself inside the people, meaning are you conveying your feelings (about your life) to us as the viewer, and what does the water represent to you?”

Yes. Water is life, death, womb, tomb, the feminine, the unconscious, etc. I’ll refer you to my website for more on this @ RamiroRodriguez.com


JW asked:
“What is the most rewarding part of your art for you: the cathardic expression in creating, seeing the finished product after all of the work, or public response to the end product?"

All of the above, however, the process and seeing the finished image can’t be beat.

Marisa Silos asked:
“What were you thinking about when you were working on your newest pieces?”

My “antepasados”, my ancestors and what they went through in their lives that make me what I am. What will my contribution be to this world, what will my son’s contribution be, what will their children’s contribution be?

Junko asked:
"Are the themes for your work defined before or after you finish it? In other words, do make your art based on your stories or do you see the stories after you look at your finished piece(or find new aspect of it)?"

Both, sometimes I know what I want the work to say, other times I have no idea what the image that presented itself means. Through the working process and inner dialogue I usually come up with an answer to what the piece is trying to tell me. There are some images that don’t present an answer…maybe they weren’t for me?

Corn on the Cob asked:
“what possesses you to paint the things you do? where's your head at? how do you bring what's inside outside? because i paint too and i have trouble turning myself inside out because there's so much going on in me that its overwhelming and sometimes i can't bring it out so it stays in and makes shit really hard.”

I may have answered this already. I don’t think I turn myself inside out, I have to keep something for myself. If it’s making it “really hard” then I say, “better out than in.” Bring some light to it.

Nobody asked:
"How do you know when you're done? Do you feel done, or do you feel like you can always make changes?"

To know when you are done it is best to have an idea of what you want to accomplish before you start making marks. Intention is an important part of art making for me. That being said, I always think I can improve on a piece once it is “complete”. Best to just move on to another work.
Also, you’re done when the gallery is waiting to pick up the works for the show… :)

Happy Now asked:
“What about Formalists...the aesthetic approach, the concept of disinterestedness, and the concept of not containing a concept? Should the entire explination be there for the viewer, is it all experience here and now? Should the work reflect life outside of itself? How could an image transend the viewer with aesthetics and emotion alone? Does it take and idea, a preconcieved notion, some "viewer baggage" to understand your work? Should it?”

I don’t know. I like the viewer to do some work too.