Biography

BIOGRAPHY / ITS BEGINS

He made the decision one morning aboard a sailboat, with the rising sun to his back watching it light up the Mediterranean Sea before his eyes. It was then and there he decided to become a sculptor. Any doubt was instantly dispelled, and that dawn would begin within a day and a new life for Ramon Aymerich.

On September 3, he arrived in Madrid ready to start his new life as a sculptor, however, he would need someone to show him the ins and outs of sculpture. Asking around eventually led him to the art bronze foundry Codina Hermanos, the oldest and most reputable art bronze foundry in Madrid. They taught him the casting process and gave the address of a hardware store, where he later bought everything he would need for his new stage in life.

The day he first put his hands on the clay and stone, he found a nexus, a path, the ideal vehicle to convey to the outside world part of his creative spirit.

In a back room of his house that only measured three by three meters, he unleashed his unusual creativity and promptly began modeling his first sculpture, “Two-Headed Lion,” which is currently part of the collection of the Genoa Financial Club of Madrid.

In this storage room he made the first 28 sculptures that would comprise his first exhibition five months later.

 

On February 14, he opened his first gallery exhibition in Madrid. The exhibition consisted of 28 sculptures in sizes between 1.80m and 0.30m and was open to the public throughout the season until May 30,1974. Ramon Aymerich did not escape criticism, nor collector. It was such as commercial success that, although the exhibition was scheduled for one month, the gallery owner suggested that the exhibition remain until the end of the season in May.

He began the 1974-1975 art season with a solo show which opened in October and remained open until the month of May in the Genoa Financial Club of Madrid. He participated that same season in an exhibition with other sculptors in the gallery Atalaya of Gijon. Once finished, the owners of the hall offered for him to have a solo exhibition the following season, which he accepted and held there.

Art season began in October of 1975-1976 with a permanent exhibition at the Genoa Financial Club which lasted until the end of May.

Some of the most important Spanish sculptors of the time gathered at the foundry Codina Hermanos, such as Pablo Serrano, Lorenzo Frechilla, Pepe Antonio Marquez, Jose Luis Sanchez, Pepe Torres Guard and French sculptor Jean Chenaf “protected” by Salvador Dalí who followed a surreal line within sculpture, Lindsay Dean, Australian resident in the U.S. and author of important monumental works as “The Wanderer” (Commemorative Sculpture of U.S. Independence located at Independence Square in Philadelphia), José Buscaglia magnificent and renowned sculptor from Puerto Rico and the author of numerous monuments, appointed Aymerich the Spanish delegate of the Promotional Committee of Heritage Plaza in San Juan, Puerto Rico, which was formed by the same creator José Buscaglia, creator of sculptor groups,Pau Casals who contributed musical creation, actor José Ferrer who possessed an extraordinary voice and Carles Spanish, architect and engineer who designed fountains with all their lights and water play.The project was undoubtedly one of the most important artistic performances of light and sound in the world for that that time.

The atmosphere in the Codina Hermanos foundry agglutinated a lot of creativity by the talent of the bronze workers. From that time onward the idea of making a collection of multiple sculptures emerged, which as a result led Aymerich to partner with the well-known financier Jose Miguel Garrigues Walker. The collection, consisting of a sculpture of each author, and twelve sculptors of that select group, appeared in 1976 in the Genoa Financial Club of Madrid title Multiple Collection 2000.

HIS CAREER

Ramon Aymerich’s career develops primarily within the world of “Art Collector” which means that nearly all of his work consists of “Unique Pieces.” The exception to this exclusivity is found in the so-called symbolic sculpture, which is one that represents a social group, a city, a public or private institution, of which the artist has made a multiple edition, for example, such as the symbolic sculpture International Biennial of Art in Marbella or TP Gold television in Spain.

Ramon Aymerich, is an artist who usually shows his work in long-term cultural exhibitions:

Photo Elia, four months.
Hanstnigs gallery of the Spanish Institute of New York, four months.
Genoa Financial Club of Madrid, two full seasons, twenty months.
Marbella Forum, four months.Organized by the municipality of Marbella.
The Don Carlos Gardens in Marbella, which lasted six months.Organized by the renowned Belgian Gallerist, Fabien Fryns, now owner of the F2 Gallery in Beijing.
The Madrid City Council, organized a major solo exhibition of Aymerich the month of January 1996 where they made available an excellent section of the Casa de Vacas in the gardens of the Retiro in Madrid. 33 paintings were hung, some in very large formats, and 25 sculptures from 2.5m and 1.0m were on display. It was visited by countless public-school students in Madrid.
In November 2008 he accepts the offer from the County of Madrid and opens a solo exhibition of paintings and sculptures in large formats in the Puerta de Toledo Center in Madrid, which will remain open to the public for seven months until May 2009.

AYMERICH AND CHINA

 

In 1995 he came to China for the first time. He was interested in granite stones, and as he found the Chinese granite was very rich in quality he decided to carve sculptures out of some of them. However, there were many issues that were not feasible to develop his idea.

Therefore, he put his idea aside and continued making random trips to China, each visit more and more amazed at the transformation that the country experienced in those years. Out of the third world, emerged the first world. Aymerich, has seen it grow. Motorway networks have appeared in its cities and great skyscrapers seem to have flowed out from the earth’s crust, like seeds that sprout in the tropics after the rainy season.

In the perspective of 2010, his initial idea of making old sculptures with Chinese granite is still correct, in fact, he has since then acquired more and more attractive stones for processing into sculptures, but mostly, something else that is interesting has happened that makes the old idea viable. It has created a market for modern art in China.

Modern architecture has transformed the old cities and substituted their archaic profiles with its skyscrapers. The implementation of ultra-modern approaches have contributed to a market which is emerging from an amazing rejuvenation of its architecture, the emergence of new Chinese entrepreneurs, the unstoppable environment of progress, and upgrading the mentality of its society, thereby making it suitable for contemporary art.

In this context of a modern China, with cities that mark a milestone in the international arena with their sense of design, Aymerich now finds the perfect moment to launch from Shanghai STONETECH 2010 his next project, the unification of the granites of China with Western creativity.

SCULPTURE

Aymerich’s works are an example of creative sculpture. The author does not project his work. He lets it flow. He does not seek, he finds. He does not feel any form of commitment to lines or trends, as those would be an unacceptable impediment to the fundamental base of all works, creative fluidity.

Aymerich is not a product just for sale, but rather, a true collectible. For this reason he remains pure in his approach to channeling creativity, and he knows he is an instrument. He feels especially happy to be complicit in this creativity and is still surprised at the results being achieved between the two.

With respect to the interests of art, Aymerich understands that for the artist, the benefit is in the design of the work, and for others it is in its contemplation. They are two similar pleasures with great differences of perspective.

The art world is an exchange of emotions. It is the viewer who, via his own sensitivity, is capable of perceiving in such a close manner the artist’s emotion in the creative moment. Some of them may even express it through art of writing, as such is the case with many great critics.

Starting with his exhibition in New York in 1976 he received several proposals from major art galleries, true art multinationals who control the market. The proposals, despite being economically interesting, had the common denominator of a clause referring to a contractual duration of exclusivity for ten years. Concessions regarding formats, materials and guidelines to follow would have also been necessary. They know how to understand the messages of the market, as they possess the best galleries and clientele in major cities throughout the world. They also have timely information about the market’s reaction to one particular line of art or another at their disposal.

The Tao gave his life a measured rhythm which was not in sync with the rhythm of material production proposed by these large companies and thus decided to follow his path as an independent.

Upon returning to Spain after New York, his life changed once again by leaving Madrid and settling down in Marbella, which for 33 years has been his home.

He currently lives in Los Molinos, a town surrounded with great natural beauty in the hills of Madrid just five miles from the capital.

PAINTING

He never stopped painting, but up until the year 1990 he focused all his creative energy on sculpture and writing treating his painting like a hobby. He thus stifled his creative passion for painting by throwing it into his sculpture. However, his passion for painting is what broke the walls that were constraining him and flowed out with a chain of large-format works with bright colors.The Spicules and diatoms that were transformedby creativity and observed through his microscope reached gigantic sizes and possessed colors known only to the most vibrant gardens resulting in a painting which was a landscape in itself, for which he is truly under appreciated.

Aymerich in recent years has developed an interesting portfolio primarily quoted in the Spanish market.