Go, Wake, Yes, True, among other words. For Ramos, 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. Sleekly, elegantly modern as it is, in its eruptive primal messaging, it nonetheless seems to connect to Tenerife’s celebrated (and active) volcano El Teide, once a sacred site.
Lilly Wei / independent curator and critic
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
She is beginning to study her more distant origins and incorporate them into her art; like an archaeologist, she is excavating the traces, genetic and otherwise, of her ancestors; she is unearthing “treasures” and boldly appropriating them for her own poiesis—her auto-poiesis.
Barbara Polla / art curator and writer
The artist’s work has evolved from a colonial past and from the near-and-far relationships with Africa in her quest for human re-encounters.
Cecile Bourne Farrell / curator and art advisor
As a woman of a certain age, Ramos comes to terms with her own reproductive abilities. She positions herself as an artist within this narrative and her ongoing imperative to bring creatie thought to month, Ramos took on this ritualistic action of creation and destruction. In producing Red-Hot, 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.
Deputy Director/ chief curator at Dallas Contemporary