Sara Ramo obtained her degree in Fine Arts in Spain but soon moved to Brazil, where she has lived for most of each year ever since. In 2007 Ice Cream, a book on contemporary art published by Phaidon, included her in its select list of the one hundred highest-profile emerging artists of the year.
She bases her work on everyday objects, which she transforms using games and language-related techniques. In her own words: 'My works do not so much belong to the everyday world as transform it'. Common elements such as a newspaper and a calendar are turned into something unfamiliar, but without severing the links that make them recognisable. This metamorphosis of objects is not constrained to a formalist discourse: the sense of strangeness and changed meaning is intended to make us more sensitive to objects which we have seen so often that they no longer hold any significance for us. Ramo thus focuses on art which has a hint of positivism but is based on the unconscious, on the mystical, on the absurd and indeed on the magical. Her points of reference can be found in the Dadaist and Duchampian ready-made aidé, which was based on the creative potential of random chance. Her work also harks back to the Brazilian art of the 1970s.
Sara Ramo has taken part in the Sharjah Biennial (UAE, 2013), the Mercosul Biennial (Porto Alegre, Brazil), the Venice Biennale of 2009 and the São Paulo Biennial of 2010. Solo exhibitions of her work have been shown at the Photographer’s Gallery (London, 2009-2010), the Almagro Contemporary Art Centre (Ciudad Real, 2011), the Matadero (Madrid, 2014), the La Panera Art Centre (Lleida, 2014-2015), the Banco do Brasil Cultural Centre (São Paulo, 2005), the Dos de Mayo Centre (Madrid, 2012), the Eva Klabin Foundation (Río de Janeiro, 2012), the Alcalá 31 Gallery (Madrid, 2019) and the Museo Reina Sofía (Madrid, 2019-2020). Distinctions received by Ramos include a Cité Internationale des Arts grant (2008) and a Plastic Arts grant from the Botín Foundation (2014).
Sara Ramo obtained her degree in Fine Arts in Spain but soon moved to Brazil, where she has lived for most of each year ever since. In 2007 Ice Cream, a book on contemporary art published by Phaidon, included her in its select list of the one hundred highest-profile emerging artists of the year.
She bases her work on everyday objects, which she transforms using games and language-related techniques. In her own words: 'My works do not so much belong to the everyday world as transform it'. Common elements such as a newspaper and a calendar are turned into something unfamiliar, but without severing the links that make them recognisable. This metamorphosis of objects is not constrained to a formalist discourse: the sense of strangeness and changed meaning is intended to make us more sensitive to objects which we have seen so often that they no longer hold any significance for us. Ramo thus focuses on art which has a hint of positivism but is based on the unconscious, on the mystical, on the absurd and indeed on the magical. Her points of reference can be found in the Dadaist and Duchampian ready-made aidé, which was based on the creative potential of random chance. Her work also harks back to the Brazilian art of the 1970s.
Sara Ramo has taken part in the Sharjah Biennial (UAE, 2013), the Mercosul Biennial (Porto Alegre, Brazil), the Venice Biennale of 2009 and the São Paulo Biennial of 2010. Solo exhibitions of her work have been shown at the Photographer’s Gallery (London, 2009-2010), the Almagro Contemporary Art Centre (Ciudad Real, 2011), the Matadero (Madrid, 2014), the La Panera Art Centre (Lleida, 2014-2015), the Banco do Brasil Cultural Centre (São Paulo, 2005), the Dos de Mayo Centre (Madrid, 2012), the Eva Klabin Foundation (Río de Janeiro, 2012), the Alcalá 31 Gallery (Madrid, 2019) and the Museo Reina Sofía (Madrid, 2019-2020). Distinctions received by Ramos include a Cité Internationale des Arts grant (2008) and a Plastic Arts grant from the Botín Foundation (2014).