Diego Ramírez is known for his expanded practice across art, writing and facilitation.

After a sustained period of experimentation with otherness and institutional critique, he formalised his interests to look at the duplicity of language. Often inspired by Satan in Milton’s Paradise Lost, who is shown as a corrupt parliamentarian, mourning the fall from heaven in a political satire. Located within contemporary systems, Ramírez creates humorous objects in different mediums that evoke these melancholic, adversarial and supernatural relations. This interest extends to other romantic archetypes, such as the vampire in global capitalism, which he reconfigures to address current issues.

“A falling economy, falling in love, falling from grace, or falling out,” says Ramírez, “reflects systems mediated by media.”

Key cultural factors have shaped the skepticism and darkness of his work. Such as the corruption of Mexico, the apocalyptic zeitgeist of the turn of the century and the callousness of identity politics. The combination of these formative experiences led to a state of cynicism that inform his push and pull with concepts, form and context.

In the past, he has embraced the vampire to parody cultural diversity, hijacked Marian apparitions with a dark orb, and observed how devils represent ethnic stereotypes in Hollywood.

He often refines his ideas in writing, where he articulates cultural critiques that feed back into his art. In recent years, Ramírez’ writing has become increasingly performative, often to upset the virtue economy of the art world. This allows him to explore his interest in language within the area of creative non-fiction.

Diego Ramirez sitting relaxed at a church pew, illuminated by a warm yellow light shining in from the windows.
Photograph by Karl Halliday