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RAMIRO GOMEZ Happy Hills RAMIRO GOMEZ Happy Hills ).'82/+0'3+9-'22+8? RAMIRO GOMEZ Happy Hills Ramiro Gomez was born on June 24th, 1986 in San Bernardino, CA. His parents immigrated from Mexico and established themselves in the Inland Empire region east of Los Angeles.In 2009, Ramiro moved to West Hollywood and took a job as a live-in nanny for an affluent family. While on duty, he observed the many Latino workers who would arrive daily to assist in the household maintenance. Growing up as a member of a working class Hispanic family, Ramiro sympathized with their work and began a series of observational drawings that would later form the body of work he titled “Happy Hills”. This body of work, the artist explains, is a “…documentation of the predominantly Hispanic workforce who work tirelessly behind the scenes to maintain the beautiful imagery of these affluent areas.” Through the help of social media, Gomez’s paintings and street installations in Beverly Hills began to garner attention. The immigrant experience is the exclusive focus of Ramiro and he continues to expand his work in a public manner. His practice honors the contributions of the many individuals who work diligently on a daily basis to provide a better life for themselves and their families. RAMIRO GOMEZ Happy Hills No Splash 58” x 41” Acrylic on panel RAMIRO GOMEZ Happy Hills A 1930’s dining room table, oh, and Erlina cleaning Olympia et Janus et Cie 11 x 8½ inches 11 x 8½ inches Acrylic on magazine Acrylic on magazine RAMIRO GOMEZ Happy Hills Beatriz on a Break Alejandra 11 x 8½ inches 11 x 8½ inches Acrylic on magazine Acrylic on magazine RAMIRO GOMEZ Happy Hills Antolina Fuentes Aracely in the Kitchen 11 x 8½ inches 11 x 8½ inches Acrylic on magazine Acrylic on magazine RAMIRO GOMEZ Happy Hills Blanca’s Balancing Act Careful with the vase, Aracely 11 x 8½ inches 11 x 8½ inches Acrylic on magazine Acrylic on magazine RAMIRO GOMEZ Happy Hills Carlos and the Bougainvillea Eduardo the Day Laborer 11 x 8½ inches 11 x 8½ inches Acrylic on magazine Acrylic on magazine RAMIRO GOMEZ Happy Hills Esperanza Estela and Dylan 11 x 8½ inches 11 x 8½ inches Acrylic on magazine Acrylic on magazine RAMIRO GOMEZ Happy Hills Gloria in Transit Graciela on the Patio 11 x 8½ inches 11 x 8½ inches Acrylic on magazine Acrylic on magazine RAMIRO GOMEZ Happy Hills Hugo and Leo Jael waits for his check 11 x 8½ inches 11 x 8½ inches Acrylic on magazine Acrylic on magazine RAMIRO GOMEZ Happy Hills Informal Dinner 1 Informal Dinner 2 11 x 8½ inches 11 x 8½ inches Acrylic on magazine Acrylic on magazine RAMIRO GOMEZ Happy Hills Jiminez Landscaping Services Leticia 11 x 8½ inches 11 x 8½ inches Acrylic on magazine Acrylic on magazine RAMIRO GOMEZ Happy Hills Lucinda gently picks up the flower vase Mitchell Gold + Bob Williams + Maria 11 x 8½ inches 11 x 8½ inches Acrylic on magazine Acrylic on magazine RAMIRO GOMEZ Happy Hills Mop, Ernestina, mop Myra and the kids 11 x 8½ inches 11 x 8½ inches Acrylic on magazine Acrylic on magazine RAMIRO GOMEZ Happy Hills Nemesio at the end of his workday Please be careful with the box Genaro and Carlos 11 x 8½ inches 11 x 8½ inches Acrylic on magazine Acrylic on magazine RAMIRO GOMEZ Happy Hills Reyna takes her seat Rosa in the living room 11 x 8½ inches 11 x 8½ inches Acrylic on magazine Acrylic on magazine RAMIRO GOMEZ Happy Hills Rosario Cleaning Zulma and the vacuum cleaner 11 x 8½ inches 11 x 8½ inches Acrylic on magazine Acrylic on magazine RAMIRO GOMEZ Happy Hills Toño and the pool Veronica cleans the mirrors 11 x 8½ inches 11 x 8½ inches Acrylic on magazine Acrylic on magazine RAMIRO GOMEZ Happy Hills Yahaira with the laundry basket Yesenia 11 x 8½ inches 11 x 8½ inches Acrylic on magazine Acrylic on magazine RAMIRO GOMEZ Happy Hills Eva in the Kitchen 11 x 8½ inches Acrylic on magazine RAMIRO GOMEZ The Caretakers West Hollywood Mural, Sept 2013 The City of West Hollywood through its Arts and Cultural Affairs Commission presents The Caretakers (Los Cuidadores), a new art installation of painted workers installed as a series of figurative murals in West Hollywood Park by Ramiro Gomez, a local artist who lives and works in West Hollywood. Ramiro Gomez is known for making visible the “invisible” workforce of westside communities by installing life-size cardboard cutouts of nannies, gardeners, valet workers and housekeepers in and around West Hollywood, Beverly Hills and other westside locations. Ramiro Gomez sees the City of West Hollywood as a diverse blend of people from many different ethnic and social backgrounds, connecting specifically with the many people who work in various domestic and service-oriented jobs in the city. “I am constantly walking around or finding inspiration in the various, brief situations I come across, such as the nanny pushing a stroller, a housekeeper waiting for the bus, a gardener trimming a hedge, or a valet waiting in front of restaurants and stores around Melrose Place,” he says, when asked about his inspiration. “These seeming unremarkable scenes of people who work here are in actuality significant representations of the labor that enables this city to operate. There is glamour and luxury in West Hollywood,” he says, “but there are people who are needed to maintain that luxury.” It is at the intersection of glamour, luxury, and labor that Gomez sees beauty. Artist pays homage to L.A.’s unseen workers Ramiro Gomez’s cardboard cutouts of nannies, gardeners, valets and housekeepers have appeared, in silent tribute, around the wealthy districts of the city. June 04, 2012 | By Esmeralda Bermudez, Los Angeles Times For the last eight months, Gomez, an artist from West Hollywood, has made the invisible visible by installing life-size cardboard cutouts of nannies, gar- deners, valet workers and housekeepers in Beverly Hills, the Hollywood Hills and other wealthy areas. His acrylic paintings appear unexpectedly around the Westside, like pop-ups from a children’s book. Gomez puts them on display to raise provocative ques- tions. “We see the beautiful homes. The hedges are trimmed, the gardens are perfect, the children are cared for,” Gomez said. “We’ve come to expect it to be this way. But who maintains all this? Who looks after it? And do we treat the work- ers with the dignity they deserve? Do we stop and notice them?” Often, people zoom right by Gomez’s cardboard creations. So he puts them in places that get plenty of foot traffic — busy intersections, parking lots and parks. Most pieces last a day or two if Gomez is lucky. Once, a valet parker he planted Recently, the 25-year-old tried his luck outside the Beverly Hills Hotel. outside a lot near the Sunset Strip made it four days. He propped a housekeeper named Ana against a hedge near the entrance. She Gomez writes his contact information on the back of each piece so people can stood facing forward, clutching her purse with both hands. Within a day she tell him where the art ended up. So far, no one has reached out. had been removed by hotel staff. At first it was tough to let go. He’d stand by for a while to see people’s reac- When President Obama came to town for a fundraiser at George Clooney’s tions, then take the cutout down and lug it back home. home in Studio City, Gomez installed four gardeners wielding a giant water hose a few blocks away. He was soon ordered to remove them by the Secret He hauls the boxes home to the two-bedroom apartment he shares with his part- Service. ner of six years, a film editor whose latest project is “Beverly Hills Chihuahua Part 3.” Artist pays homage to L.A.’s unseen workers (cont.) In a bedroom that doubles as a studio, his Juanitas, Adolfos and Candelarios quietly come to life. The idea for his project came a few years back, after he dropped out of art school. He needed money so he took a job as a nanny, caring for a 9-year-old and 8-month-old twins in the Hollywood Hills. He worked in a home with sweep- ing views of the hills along Laurel Canyon. His boss kept plenty of home decor magazines around, which later came in handy. Gomez got to know the workers in the neighborhood. He followed the same routine as the nannies: play time, lunch, nap, a trip to the park, then dinner and bath time. At the park in West Hollywood, the nannies were a tight-knit bunch. Aminata gardens, but there was no mention of the workers who took care of them. was from Haiti and Lulu from Britain. The rest were Central American and Mexican. They had worked in the hills for years, some for decades. “They were invisible,” Gomez said. “As if the homes just magically cleaned themselves.” When they saw Gomez, they didn’t know what to make of him. A male nanny? A gay male nanny? So he began to insert the workers himself. He cut out the full-page ads of luxu- rious settings and with fine brush strokes painted in a housekeeper or gardener But Gomez soon fell into their daily talk about favorite soap opera stars, their — brown figures bent over lawn mowers, dust cloths and mops. children’s progress in school, their bus rides and their bosses.
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