Ramón Rivas
Ramón Rivas was born in the Land of Don Quixote (Castilla-La Mancha, Spain). He completed his university studies in Madrid. He holds a degree in Industrial Engineering and a Master's degree in Sports Management from the Instituto Olímpico Universitario (COE) and the Complutense University of Madrid. He also holds a European Diploma in Strategic Planning. He is also an inventor, national tennis coach, and creator/performer of a dance-tennis instructional CD. He also holds a diploma in graphic design, advertising production, and professional web design.
He has worked in management and administration in public and private companies, as well as in advertising, design, and the organization of major events (Davis Cup, Federation Cup, exhibitions, etc.).
His family's professional and artistic activity, spanning several generations, has influenced his work in the art world since his childhood. The multidisciplinary influence of his professional activities—in sports, music, engineering, inventions, and art, both in Castilla-La Mancha and Madrid—was decisive in the creation, within the art world, of a very personal and distinctive style, which has come to be known as Rivismo. This style is based on the application of experiential brushstrokes, giving prominence to material elements to which he has assigned functions and values of human beings.
Ramón Rivas's creativity thrives on being different and developing artistic proposals that surprise and captivate the viewer. He applies his vivid imagination to create innovative works that engage the audience, displaying precision, density, and captivating depth in his images.
Prestigious art professionals have recognized the exceptional originality and aesthetic appeal of his work, offering the following analysis:
“Ramón Rivas's art is not simply a visual feast; it is a revolutionary act, a space where the imagination is unleashed and the spirits of both creator and viewer merge in a dance of vibrant creativity.”
“His unique vision and exceptional skills have not only captivated audiences around the world but have also contributed significantly to the enrichment of the art world.”
“Ramón Rivas proves to be a master of linguistic plurality in art. His greatest achievement, however, comes at the exact moment when, realizing that he has developed his own unique artistic language, he decides to create a true artistic movement that he calls Rivismo.”
“His remarkable contributions not only elevate the art world but also establish him as a true pioneer in the global artistic community.”
His talent has been recognized through exhibitions held in several countries, including Spain, China, Japan, South Korea, Italy, Denmark, France, England, and the United States. He has actively participated in art fairs in the United States, and his art is proudly displayed in museums in Spain, Denmark, and South Korea. Ramón Rivas's artistic contributions have also been featured in numerous books, magazines, catalogs, interviews, and reviews of his work, consolidating his presence in the contemporary art world. Furthermore, this exceptional talent has been honored with prestigious international awards, further cementing his reputation as a distinguished artist.
Ramon, your philosophy of Rivismo proposes a molecular and experiential presence within each brushstroke, redefining the relationship between material, memory, and meaning. How do you see this approach challenging the conventions of contemporary art, and what ethical responsibilities do you believe this paradigm shift places on the artist?
Considering that the conventions of contemporary art refer to the norms, practices, and expectations that are present in the creation, exhibition, and reception of the art produced, and furthermore, assuming that these conventions are dynamic and in continuous evolution, my artistic contribution is in this evolutionary line, and in a certain way, it represents a challenge and even a break with previous artistic traditions with the aim of enriching contemporary art.
The activities I have undertaken in multiple professional fields have provided me with enriching experiences, which have positively impacted my creativity, enabling me to create original, personal, and innovative works. The use of my specific "Experiential Brushstrokes," which feature textures of materials, devices, and other elements, as well as the inclusion of physical, mathematical, chemical, and cosmic concepts, among others, allows me to expand the current boundaries of contemporary art.
Regarding ethical responsibilities, I can say that my work is perfectly defined and documented through the application of the philosophy and concepts of my personal style, called Rivismo, which is registered in the Intellectual Property Registry. Furthermore, I treat the subjects with absolute respect, and equally, I respect the work of other artists, art professionals, and, above all, I respect the people who will interact with my works. My primary objective is for my artistic contribution to have a positive impact and influence on society and culture.
From industrial engineering and patented energy systems to high-performance tennis and conceptual painting, your trajectory defies categorization. How does your polymathic background shape your process of creation, and in what ways do these disciplines converge within the aesthetic fabric of your artworks?
One of the subjects I studied in Engineering, in addition to Production Organization, was Planning, which I later expanded upon by earning a European Diploma in Strategic Planning. The applications of these studies, combined with my training in Mind Control, have become my greatest allies in structuring my work functionally and aesthetically, which I have also applied in my energy inventions and others.
I plan my work, starting from a preconceived idea that I can visualize mentally as if it were an image. I define the starting point and the end point I want to reach. I select the elements that will be used and organize them so that they can convey my idea and emotional interaction to the viewer.
Within this selection, I pay special attention to color, line, shape, space, perspective, depth, texture, and light, as these are essential elements for optimizing this process.
Using these elements in a carefully studied way achieves rhythm within the canvas, the goal of which is to create a dynamic visual experience that attracts and guides the viewer's gaze and adds interest and harmony to the artwork.
Regarding my experiences in the world of tennis, I have engraved in my mind the beauty of the players' movements and movements, which resemble dance, and which have inspired and helped me create rhythm in my compositions, bringing emotion and creativity to my creations. This sport has elements in common with my engineering, in that players utilize planning and organization in their training and competitions. The emotions experienced by both players and spectators during a match can be extrapolated, in part, to those experienced by spectators who visually explore one of my works.
My experiences with various materials, elements, and devices have helped me introduce conceptual elements into my work. Naturally, I develop these works thanks to my many life experiences, which have fueled my fantasy and imagination and increased my creativity.
By applying these concepts, I aim to create works that are different from those created by other artists—those I respect—and to bring freshness, novelty, excitement, and surprise to art lovers and professionals, who await a progression that revolutionizes the world of contemporary art..
Much of your work seeks to transform the viewer from a passive observer into a co-creator of meaning, a ‘creative artist’ navigating the ‘walkable space’ of the painting. What role does interactivity and viewer perception play in your compositional methodology, and how do you construct that journey?
First of all, it should be clarified that the works referred to in this interview are not classified as hybrid art, where the works are composed of physical and technological elements that the viewer can touch, move, and create their own personal composition. In this way, the works change and evolve based on the viewer's participation.
The works that are the subject of this interview refer to flat, narrative compositions, whose stories are created by the artist using his fantasy, imagination, and his signature technique called Rivismo. They are works captured on a medium: canvas, wood, aluminum, etc.
The elements involved are fixed but visually contain the characteristics that those elements could have in 3D. Therefore, the transition from passive to active spectator occurs when the spectator begins their visual journey and carefully analyzes each element until reaching the end. With the meaning of the work's title and the analysis completed, the spectator can create their own story. From this moment on, the spectator decides to enter a state of concentration, immerses themselves visually, and interprets each element according to their training, their imagination, and their own fantasy, to mentally elaborate and create the story of their film.
With this reasoning, although the composition of the work has not changed, the narrative content of the artist and the spectator has. In this way, the spectator becomes a co-creator and a creative artist, as they mentally travel through the work's traversable space and as long as the images of their film remain engraved in their retina.
The conceptual structure of Rivismo involves a ‘reassignment of roles’ between materials, elements, and energies. Could you expand on how this democratic dialogue between the organic and the synthetic influences your narrative choices and the metaphysical core of your work?
The roles assigned to people are equivalent to the functions they have in their family, at work, and in society. These roles can change over time as new perspectives and opportunities arise, and as goals are achieved.
Regarding the materials and elements included in Rivismo compositions, such as organic, tangible, and intangible elements, each has a reason for its existence and a very specific function. Whether it's a steel cogwheel, a fried egg, or a mathematical expression.
The innovation that Rivismo brings is to assign these elements characteristics and functions of the human person. In this way, the concepts of Equality, Strong and Weak, Balance, Empathy, and Role Reassignment become part of the behavior of these non-human elements.
Analyzing the work "Organic Transmutation," we see that a steel cog, which is strong and has a specific function, is attached to a fried egg—which is fragile—and as it spins, it turns its own teeth into the egg white. Once this process is complete, the egg transforms into a new cog, to which the steel cog has transferred its function and strength. In this way, a balance and experiential equality have been achieved between both elements. The cog has replaced the egg, establishing an experiential empathy. Through this process, a role reassignment has occurred, which the initially weak element has received. With this functional exchange, it has become a clone of the cog.
The creation of this type of process takes place with the presence and application of dreamlike atmospheres, juxtapositions of objects that the viewer does not expect, and the exploration of the subconscious and the irrational. In this way, we transcend literal representation to explore reality through subjective experience, imagination, surprise, mystery, and the central role of the tangible and intangible in their human role.
By applying these concepts, it is easy to create compositions with multiple narratives, whose stories, meticulously created by the author, allow the viewer to create and record their own story in their minds as they visually journey.
You’ve spoken about your work carrying an “amazing density” and being “visually captivating.” How do you calibrate density in a painting, not just in terms of visual form, but also intellectual, emotional, and energetic charge?
In my work, this density refers to the sense of visual weight or complexity of my compositions. It's not a physical mass, but rather the quantity of visual elements, the richness and precision of the details, the intensity and contrast of the colors, the depth, the visual textures, and the way I apply and distribute them within the space of the work.
I preferably create my work in large formats, as my goal is for my pieces to be walkable and for the viewer to visually explore them in their entirety. In these dimensions, and seeking a balanced density, I incorporate and organize the elements in such a way as to positively affect the viewer's experience, seeking to generate interest so that they are encouraged to analyze each element, connect them, and create their own interpretation.
The elements I incorporate are unique. For example, I build geometric cubes and place them floating inside each other. On their faces, I incorporate experiential textures, works of Rivismo, and other elements, providing the whole with a wealth of information and extraordinary perspective and depth. I create elements simulating fantastic animals and characters using tangible and intangible textures. I distribute spatial landscapes in combination with terrestrial ones and incorporate them into the composition. I use mathematical and physical expressions that add engineering concepts to the work, providing a technical and intellectual charge.
These are some of the many unique elements I create, which are the protagonists of a captivating density, the result of which is reflected in the construction of works; novel, surprising, and unique, which also possess and transmit sufficient emotion and energy to captivate viewers, contributing significantly to the enrichment of the art world.
Art critic Alessia Perone described your paintings as “mystical visions that transport the viewer to a parallel universe.” Would you say that Rivismo operates as a form of visual metaphysics? If so, what spiritual or philosophical traditions inform this vision?
Regarding the art criticism that describes my works as "mystical visions," I can clarify that in selecting the visual content of my works, I try to avoid those that refer to spirituality, mysticism, the Divine, and anything related to religion. It is a very delicate subject, and one must be an expert to treat it with reputable knowledge and great respect. However, in the visual analysis carried out by art professionals and viewers, they can freely reproduce their own story, including these concepts in their film.
In Rivismo, I seek to explore reality beyond the purely physical, through the representation of dreamlike scenes and the juxtaposition of everyday objects and objects created in unusual contexts. This style seeks to evoke a sense of mystery, surprise, restlessness, calm, and the inner life of materials, objects, and devices created through experiential brushstrokes that provide interpretive richness. Considering these arguments, I can affirm that Rivism operates under a form of visual metaphysics.
Philosophy explores knowledge through reasoning and analysis and can serve as a framework for understanding and analyzing mystical experiences. In this sense, Rivismo facilitates the application of these concepts to all types of viewers when analyzing its works. In this way, and through the use of art, a new movement can be created within existing philosophical traditions that helps explore reality, convey ideas, and help us understand the world, existence, our relationship with the transcendent, and human values.
Your artistic practice has been described as both revolutionary and pedagogical. How do you balance aesthetic innovation to educate or awaken societal consciousness?
I am grateful that art professionals have categorized my work as revolutionary and educational. Through the application of my personal style, I seek to express myself in ways never before seen, contributing to social change and educational transformation. This is a challenge to established norms, promoting critical reflection and using pedagogy to democratize access to knowledge and encourage participation in the creative process. These effects affect both the artist in the creation of the work and the viewer when they visually explore it.
In my compositions, based on creativity, imagination, and innovation, I pay special attention to aesthetics, as they represent a form of attraction that awakens the viewer's interest and initiates their journey through the work's setting. This creates a state of concentration that allows them to create their own story and invites reflection, dialogue, and action.
The interaction of viewers in my works, and among themselves, positively contributes to social awareness, helping them understand other people's perspectives and experiences, recognize social norms, value the feelings of others, and understand how individual actions can impact society as a whole to build a more just and equitable world.
Your concept of “Faces of Matter” gives voice to materials through empathetic representation. What philosophical or psychological frameworks, if any, influence this anthropomorphizing of inanimate forms within your art?
Among the characteristics that distinguish my work is the application of the concepts of "Part to Whole" and "Whole to Part." Their application allows me to transform a part of a material, an element, or a device into a whole, achieving, in this case, the representation of a material face in which each of its two eyes represents the entire composition. Depending on the textures and shapes of the elements used, material faces can be created with diverse expressions: joy, seriousness, sadness, among others. In this way, the viewer puts themselves in the place of the composition and empathizes with it. Works such as "Faces of Experiential Matter" and "Triple Anger" are didactic examples where the application of these Rivism concepts can be appreciated, and which can give rise to anthropomorphization. Psychologically, human characteristics or qualities have been attributed to inanimate objects, and these could also be applied to animals or natural effects. As everyday examples, I can mention: My computer is “very clumsy and doesn’t obey me” today, my dog “is very sad” or the comet is moving “very quickly”.
In essence, anthropomorphization can be said to be the human tendency to view the world through a human lens, to see our own emotions and desires in the world around us, our intentions and human physical traits, and to apply them to non-human entities. Under these concepts, in which I consciously do not incorporate supernatural or divine themes, and by adding my creativity and fantasy, some of my works respond to these interpretations and are prepared to interact with viewers.
In works that combine computer, physical, and mathematical elements with emotive storytelling, how do you navigate the tension between scientific logic and intuitive creation?
Part of my training is linked to the world of science, since as an engineer I have studied fundamental subjects—mathematics, physics, chemistry, computer science, etc.—which have provided me with the systematic and analytical reasoning necessary to establish the validity and reliability of knowledge. On the other hand, the multitude of professional experiences in which I have stored a great deal of information, such as my past experiences, subconscious patterns, and sensory perceptions, have given me the ability to understand something immediately, intuitively, and without the need for conscious reasoning.
In my experience, the pairing of scientific logic and intuitive creation acts as a complementary team without any tension. Scientific logic provides the framework for the organization, analysis, and verification of knowledge, while intuition, a psychological process of immediate perception and understanding, can be the spark that initiates new ideas and perspectives.
The application of these two concepts in my works has contributed to the creation of works in which science and art interact, creating emotional narratives that facilitate greater dialogue with viewers, making them more active in the communication process. For example, the work "Art between the Catapult and Relativity. Da Vinci and Einstein" reflects the participation of the realms of intellect and creativity, merging the revolutionary inventions of Leonardo da Vinci with the physics concepts of Albert Einstein. This work evokes a reflection on the connection between art and science: it suggests a close correlation between the two disciplines, which can act as true catapults for human progress, in addition to celebrating humankind's profound quest to understand the universe.
Given your experience designing performance apparel, founding sports institutions, and integrating music and dance into pedagogical tools, how do performance and movement influence your sense of pictorial space and rhythm on canvas?
Rhythm in the space of the canvas or the support used is an essential compositional principle that creates a dynamic visual experience, guiding the viewer's gaze and adding interest and harmony to the work of art. In my works, the application of this principle is fundamental to creating an engaging and fluid visual journey that facilitates interaction with viewers. From my experience designing sportswear, developing sports projects, or integrating music and dance into the movements a player uses during a game, these represent for me a connection between sport and art that can be considered a dance of mutual inspiration, where the beauty of movement, the excitement of competition, and creativity intertwine to enrich both disciplines.
To apply these concepts within the pictorial space, I create rhythm through the organized repetition of visual elements, such as shapes, devices, colors, or lines, which create a sense of movement and harmony within the composition. In my works, the application of experiential brushstrokes facilitates this action. The incorporation, for example, of several geometric cubes mounted within each cube offers the viewer rhythm and movement. The establishment of focal zones also creates this impression, as can be seen in the work "Art Explosion In-Out."
Your creation of the Disco-Dance-Tennis project, a pedagogical fusion of sport, music, and performance, demonstrates an extraordinary capacity to synthesize seemingly unrelated disciplines. How does this inventive approach to movement and rhythm inform your artistic practice, and do you see parallels between the choreography of tennis and the compositional structure of your paintings?
When I created the Disco-Dance-Tennis project, my goal was to design a dance with all the strokes and movements typical of tennis so that it could be learned by dancing, in discos, parties, etc. This dance premiered on TV, with the performance of a children's group of boys and girls, who, carrying a racket appropriate for their age, and reproducing the strokes and movements according to the lyrics of the song, managed to put on a show full of beauty, movement, performance and a lot of rhythm.
I extrapolated all this movement and dynamism that viewers could appreciate through their screens to the pictorial space of my works. In fact, in one of my works, "Experiential Exchange," I apply these concepts, and among its experiential elements and spherical cubes, a total exchange takes place, from everyone to everyone, through multiple lines that visually represent the explosive and dynamic movements realized in this transmission of experiences.
Your inventions range from clean-energy solutions to dynamic advertising systems. Do you view innovation and invention as parallel practices to your visual art, or are they components of a single, unified creative philosophy?
For an invention to be patentable, it must meet three main requirements: novelty, inventive step, and industrial application. It must not be obvious to an expert in the field, and it must not be contrary to public order or good morals.
I was able to assimilate all of these conditions from the moment I formally drafted the official application form for each patent I submitted for approval to the patent management agency.
This information and training in seeking novelty has loaded my brain's hard drives to act similarly in my artwork. For me, I consider innovation in terms of patentable novelty. With this goal, I create personal, unique, and distinct works.
When I begin a work, I approach it as if it were a patent for an invention. I visualize what I want to capture on stage, and then compose unique elements, shapes, colors, and arrangements that, based on my creativity, imagination, and fantasy, permeate the pictorial space, resulting in a unique innovation.
From my experiences in the field of invention, I can affirm that innovation and invention are parallel tools to my visual art and are part of a unique and unified philosophy, present in my personal technique, which I call Rivismo.
The ‘walkable painting’ and your ambition to turn space into an experience evoke ideas from installation art and architecture. Have you considered or are you currently exploring Rivismo in immersive formats such as digital environments, AR/VR, or spatial installations?
Currently, the use of immersive formats encourages the viewer's active participation through a multisensory experience, inviting immersion in the work rather than passive observation. The application of technologies such as virtual and augmented reality, projections, projection mapping, and sound elements creates immersive environments that activate the senses, making viewers an integral part of the work. If you ask me if the application of these technologies could be beneficial for the exhibition of my works, I can affirm that they are. In fact, the Spanish artist Jaume Plensa, in his role as a sculptor, when he had the opportunity to see some of my photographic works, his first reaction was to suggest making them in 3D.
The result of applying these technologies is to facilitate the exploration of the stage, but leaving the viewer with the visualization work almost done, requiring very little use of their imagination, fantasy, and their role as creators of their own story.
The goal I seek in my walkable composition is for the viewer to be able to mentally recreate or simulate some of the effects produced by these technologies, including sound effects and touch, and to visually explore the stage, attempting to produce movement and interaction between elements, access deep areas, change light and shadows, etc. In short, to create a projection with a script whose story is tailor-made by the viewer themselves. In this way, a film is produced, the content of which remains active as long as the recorded images remain in their retina.
You once said your paintings allow us to "rediscover meaning." In a world inundated with images and overwhelmed by content, how do you see the role of the artist in preserving or restoring meaningful visual language?
Visual language is the ability to use visual elements such as colors, shapes, textures, lines, space, and composition to convey ideas, emotions, and information in a way that is clear and understandable to any viewer. For language to be meaningful, formal elements that refer to ideas or concepts must be employed, often through cultural codes or conventions that facilitate the interpretation of the visual message. In contemporary art, artists use these elements to challenge perceptions, generate social and political debate, tell stories, and explore the world using digital images. These concepts have a very broad scope, and each artist, depending on their training, their interests, and their goal of openly connecting with the viewer, can experiment and apply their ideas, challenging public perceptions and generating debate.
In my work, the visual treatment is determined by the philosophy and concepts of Rivismo, and above all, by the application of experiential brushstrokes, which incorporate the experiences of the elements involved. The inclusion of elements with human functions, organic and inorganic matter, and non-material elements, allows me to compose a setting with unconventional visual images, incorporating experiential textures, physical and mathematical formulas, fantastic characters, spatial elements, etc.
By means of the complete information that I have stored in my brain, I can elaborate very diverse narratives and, also, apply in each case the specific elements that feed and enhance my visual language. Narratives designed so that each viewer can adapt it to their own knowledge and can mentally elaborate their own story in their journey through the pictorial space.
Although I value the controlled use of technology to create visual elements, my goal is to use it as little as possible. The use of algorithms, artificial intelligence and digital processes expands the possibilities of art, but my ethics are above these automatic applications, since unfortunately, they blur the border between authorship and process. I prefer, and advocate, that the majority of the process be carried out by a flesh and blood artist using his or her own personal resources.
Having received international recognition and critical acclaim, how do you perceive your evolving legacy within contemporary art? Do you envision Rivismo as a personal philosophy or as a generative movement capable of outliving its founder?
The education I received from my parents was extraordinarily valuable. They taught me from a very young age that if a person has good qualities, they should apply them in life without asking for anything in return. For this reason, I consider the international recognition and positive reviews of my work normal, as it reflects the result of my long and diverse education, in which multiple experiences have loaded my cerebral hard drive, allowing me and still allowing me to develop works with a uniquely personal imprint.
Undoubtedly, I am grateful to the art professionals for their very positive analysis, because they have confirmed that my steps are on the right path.
Regarding whether I conceive of Rivismo as a personal philosophy or a generative movement capable of outliving its founder, I can explain it very intuitively. To do so, I'll use a simile, using a grape and, on the other hand, a bunch of grapes as explanatory elements.
Let's suppose that a grape represents a movement created by its founder. At this moment, the grape has a size based on the influence of said founder. If more artists associate themselves with this movement as its founder designed it, the initial grape will change size and could become very large if the number of followers also increases. But if a sample of said grape is taken to analyze its supposed DNA, we will see that it will be the same throughout, since the contribution of each artist does not vary with respect to the initial content of its founder.
Now, let's suppose we have a bunch with a first grape, which can represent the first initiator of the movement. Each new artist analyzes this movement and contributes their own philosophy and creativity, and is thus grafted onto the bunch. In this way, we have two grapes, each slightly different. Following the process, the bunch can be completed with all those artists who follow the founder's movement and want to contribute and add their own innovations.
In the end, we see a very large grape that represents those who follow the same philosophy and concepts as the founder, and, on the other hand, a bunch with the same volume as the enlarged grape, but with the difference that each grape within the bunch has a slightly different DNA.
Between the two options, it would be better to adopt the grapevine analogy, since the benefits that can be achieved to enhance contemporary art would be much greater.
As a personal contribution, I can say that I would prefer each grape to be completely different from the others and for each grape to represent a distinct movement. In this case, contemporary art would grow exponentially.