Ok, this deserved a fucking post…
I haven’t done drag in over two years. I’ve been somewhat disconnected from the whole glam, hyper-femme, gender-bending whatever of it all (among other things). But over the last two weeks, I had so much fun letting go, forgetting about being polished, and just playing, and enjoying myself within the horrors of @orkgotik ‘s prosthetics workshop.
I was planning to do something else, but that would’ve taken me down a high-detail road of being, once again, too precious about everything, and fuck that.
Instead, I decided to make a family portrait with my baby bicho, to be inspired by it and it’s horrendous beauty 🩷
✨Seguimos presentándoles a los y las artistas participantes de la Feria Vis 2025✨
A partir del 20 de noviembre podrán visitarnos en @casazirioshop@casazirioshop
•Daniel Ramos Obregón @danielramoso
•Fidel Arias @fidel_arias
• Daniela Acosta @daniela.acosta.parsons
Les esperamos !!!!!
#feriavis #feriaautogestionada #feriadecembrina
👁️NOW ON VIEW
Te invitamos a visitar Desdoblamientos, exposición individual de Daniel Ramos Obregón en la Sala de Proyectos ETC de SKETCH.
@danielramoso
📸 @ese_monsalve
Queremos presentarles a Daniel Ramos Obregón, quien presenta su primer solo project en ETC Sala de Proyectos en SKETCH este sábado 13 de septiembre de 11:00 a.m. a 5:00 p.m.
Daniel Ramos Obregón es un artista, diseñador, performer drag y educador colombiano. Su trabajo explora preguntas sobre la existencia humana en la sociedad contemporánea, examinando la identidad, el género, la raza y la relación entre mente y cuerpo, espíritu y materia. Con una práctica fundamentada en el pensamiento a través del hacer, trabaja con medios como la joyería, la cerámica y el trabajo en cuero, creando objetos altamente narrativos y piezas de arte para llevar.
Su obra ha sido exhibida tanto a nivel nacional como internacional en eventos como la Munich Jewellery Week, la Bienal Latinoamericana de Joyería Contemporánea, la Bienal de Joyería de Lisboa y la Bienal de Diseño de Venecia, así como en museos y galerías entre los que se encuentran Liljevalchs Konsthall (Suecia), De Kerk / Museum Arnhem (Países Bajos), el Museo Nacional de Arte Decorativo de Buenos Aires (Argentina), el MAMBO (Colombia) y el Bayerischer Kunstgewerbeverein (Alemania), entre otros. Daniel fue finalista en la categoría de accesorios en International Talent Support (2014) y ha sido nominado en tres ocasiones al premio nacional de diseño Premio Lápiz de Acero (2015, 2023).
Es diseñador de la Universidad de los Andes (2011), cuenta con una maestría en artefactos de moda del London College of Fashion (2014). En 2024 completó el posgrado en investigación artística en artesanía contemporánea de la Universidad de artes, artesanía y diseño Konstafack (2024) en Estocolmo.
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3 (Entre Fronteras)
Totumo, latón bañado en oro I Totumo,
ceramic, gold-plated brass
8 x 10 x 23 cm I 3.14 x 3.93 x 9.05 in
2019
Daniel Ramos Obregón
Corazón: The Finger(s) - Objectifying a Queer Body Thinking Through Materiality
Vidrio I Glass
4.8 x 4.8 x 7.8 cm I 1.88 x 1.88 x 3.07 in
2024
Daniel Ramos Obregón
Crossing the limit (mediana) - Objectifying a Queer Body Thinking Through Materiality
Vidrio I Glass
16.5 x 18.5 x 15 cm I 6.49 x 7.28 x 5.90 in
2024
#sanfelipedistritocreativo #danielramosobregon #artboferia #contemporarydesign
A REFILL OF CONDOMS 🥂💦
‘In my metaphorical thinking, I understood the mold as a certain conduct to be followed that would produce standard pre-determined objects–bodies. But here, the mold was producing two different objects with different values. It’s as if the mold was trying to show me that it is perfectly capable of doing more than just the glass of champagne it was in ‘its nature’ to do.’
THE FINGER(S) – PINKY
‘Glass is a nonbinary material by nature, it is neither a solid nor a liquid. It is an amorphous solid—or supercooled liquid—which means it has properties of both forms, sitting somewhere in between. However, it is a distinct state of matter of its own, giving it a special quality that makes it feel alive. It’s fascinating that even if it appears solid, fixed, and definite, its nature is more of a liquid with a huge potential for change and an inherently unstable and constantly rearranging nature. It is such a queer material.’
THE FINGER(S) – RING
‘I wanted to put the glass on my finger, I wanted to fit into the piece, but I couldn’t. I felt confronted by the piece and a series of questions struck me: What happens when you no longer fit in your own body, or you become a new version of yourself that doesn’t fit in the old one? Do you force yourself right into it, even if it will hurt you? What do you do when it is completely impossible? Do you remake yourself? Do you make a new you? Would I remake the piece over and over until my body fits in perfectly? Or should I let it be as it is, moving away from it, and making something new?.’
THE FINGER(S) – HEART
‘…it helped me realize that glass can be melted again. This is interesting because it makes the material very fluid and infinite in its possibilities for becoming. I have worked with many materials but this is my first time working with glass. Although I may not have developed the skills to work with glass at an advanced level, I don’t think I need to be a glass artist to be able to speak to it.’
THE FINGER(S) – INDEX
‘I shaped the first pieces as simple cube-like forms, they revealed an image of my body being enclosed within a box. I thought they would produce a sense of claustrophobia or suffocation if worn, instead, they felt like a deep sense of being embraced. I had created a space meant only for me where my body could exist, a perfectly custom-made space I could claim entirely of my own.’
THE FINGER(S) – THUMB
‘I started by making casts of my fingers. Body casting has been a recurring element in my work. My body has become a tool, a material, and a subject in my making. Because I was approaching these pieces through the logic of a mold, I wanted to cast a solid shape with the finger’s negative imprint inside, instead of casting the actual positive. To do so, I had to alternate between the positive and the negative molds, however, the final pieces are both a positive and a negative.’
