Yapci Ramos

The work of Yapci Ramos displays the raw honesty of documentary mixed with a focused sense of composition and color. Her oeuvre explores the physical and emotional bodies of people as well as the structural and historical bodies of architectural structures.

Seth Cluett / critical writing


I am the voice that arises from within me, a link between my Guanche origins and my essence.

Guayec video work in process, Barcelona, 2021


Few emotions elicit as much violence and empathy as crying. Lloro, an altar that elevates our fragility to the antipodes of the social taboo that still weighs on the different manifestations of the intimate.

Nora Navarro / Cultural Writer

10-channel video installation, 12'29'', Espacio Cultural el Tanque, 2020
Work in process at The Watermill Center - a laboratory for performance, New York, 2020.


Why are we the way we are? What weight does family have over an individual? Is there such a thing as a subconscious trans-generational legacy?

Yolanda Peralta / Art historian, curator, researcher

Tío Manolito, 1977-2019. Lenticular photograph, 120 x 150 cm
Papá, 1970-2019. Lenticular photograph, 120 x 150 cm
Abuelo, 1928/2019. Lenticular photography, 100 × 80 cm.
Bisabuela, 2018. Lenticular photograph, 33 x 50 cm
Work in process, family exploration.

The steep mountain complex of their fears, the meandering rivers of their doubts, the wind and lava climate of their youth, when they tended their dreams to the sun of the Transition and the promises of a renewed air of democracy.

Nora Navarro / Cultural Writer

Installation at CAAM Centro Atlántico de Arte Moderno, 2019


It is a collision between the recorded song of a real bird in Tegucigalpa and the artist’s whistle which alludes to the Silbo Gomero, a system of whistles from Guanche culture. One of Freedom’s birds is “free” while the other is not.

Dillon Cohen / artist, writer and impact investor.

Territory exploration, Parque Nacional del Teide, Tenerife, Canary Islands.
Sound installation. Volcanic rocks. Variable dimensions.
Territory exploration, Parque Nacional del Teide, Tenerife, Canary Islands.


It also conjures ancient rituals and religions centred on the Canaries’ aboriginal worship of the mother goddess, the Earth and the magical power of blood, with purification rites that included cleansing in the sea in preparation for birth and renewal.

Lilly Wei / independent curator and critic

Red-Hot Colum, 18-channel video installation, 12’05’’, TEA Tenerife Espacio de las Artes, 2019

Ramos places herself front and center in conversations around female empowerment—as a woman, in control of her body, her voice, and her own destiny.

Justine Ludwig /  Deputy Director – chief curator at Dallas Contemporary

Red-Hot Divided, 18-channel video installation, 12’05’’, Catinca Tabacaru Gallery, NY
Red-Hot Corner, 2-channel video, 27’ 51”, CAAM Centro Atlántico de Arte Moderno, 2019

I Don’t Mind II

They invite us to reconsider pleasure through the prism of spontaneity and empathy, in contrast with a society where individualism increasingly affects our relationships with others but also our experience of reality: overabundance of technology, fleeting social relationships, etc.

Lisa Toubas / Art law and taxation

I Don't Mind II. 6-channel video installation, 5’58’’, TEA Tenerife Espacio de las Artes, 2019

Back & Forth

Between 2006 and 2008 Ramos portrayed her circle of friends in the city of Barcelona, members of a generation full of energy, hopes and dreams. Ten years later she contacts them again to take stock of how their lives have changed over the intervening time.

Yolanda Peralta / Art historian, curator, researcher

Back & Forth. 400x1000cm mural vinyl photograph & 3-channel video installation, 15’52’’, TEA, 2018

Bushes in the Night

A lulling video about several varieties of plants less fraught. In the form of a documentary, it tells us about the sexual perverseness of flora, remarkably similar to that of their human counterparts.

Lilly Wei / Independent Curator and Critic


Installation at TEA Tenerife Espacio de las Artes, 2018.
Filming process from Bushes in the Night, Anaga, Tenerife.


This loneliness that the artist stages with this particular light is nothing other than the metaphor of women who sell their bodies in order to survive.

Simon Njami / Writer, Art Critic and Independent Curator

She looked at prostitution with a particular gaze, a tender and inclusive gaze—neither moralistic, nor judgmental, nor sordid. A gaze and images that say: “She could be me, I could be her.”

Barbara Polla / Art Curator and Writer

10 photographs. 31 x 47 in & video HD, 2’08’’, TEA Tenerife Espacio de las Artes, 2018


Through careful observation, we collect, catalog, and translate from geographic region to socio-cultural region, from ecosphere to biosphere, crossing boundaries of language and discipline to arrive at an understanding of the complexities of the environment. These pieces present a continuum between the environment we inhabit and the mechanism through which make sense of it.

Seth Cluett / artist, composer and critical writer

Bruma, 6 digital photographs, 250 x 100 cm.
Installation view at MNH Museo de la Naturaleza y el Hombre, 2014


Is it innocence or precocity we see in it, that allows her to pose herself as an illicit sex object? How did she become so expert in the art of maquillage? What might be the consequences of such early sexualisation?

Lilly Wei / Independet Curator and Critic



Photography, 220 x 145 cm. Series of 3, variable dimensions
Installation view at TEA Tenerife Espacio de las Artes, 2018
Yapci Ramos: Show Me. Know Us. Welcome Her