The Artist Joseph Ramirez-Dalton is like an alchemist. His combination of painting and cinema is a form of ‘spectrology’ creating a dichotomy between the material and the ethereal - ‘All that’s solid melts into air.’ (Marx). Much of his work specifically explores the correspondence between the two media, while evoking other conceptual issues surrounding the gaze, and instigating a play between the poetic enigma and the mechanics of process.Ramirez-Dalton’s experience producing monastic art is evident in the Renaissance palette and measured composition, even down to the carpentry. This disciplined understanding of techniques and materials (he prepares all his own following traditional methods) is complemented by his scholarly research into the history of painting, a knowledge underpinning his film works. His scope spans the religious iconography of Renaissance masters, such as Piero della Francesca, and the complex fractures of the ‘Moderns’ such as Manet and Matisse. His filmic influences range from the pre-cinematic phantasmagorias, through to the Lumière Brothers and on to the painterly cine-poetry of Andrej Tarkovsky.

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