From “Striking Images Reveal What It Really Takes to Live a Life Of Luxury” in Policy Mic, an interview by Kinsey Lane Sullivan with the artist, Ramiro Gomez.
KS: The piece “No Splash” is particularly strong. Why did you choose this piece to re-imagine?
RG: David Hockney’s iconic work, “A Bigger Splash,” has helped shape the popular, sunlit image of a luxurious Los Angeles-area home … However, my experience as a nanny allowed me to see Hockney’s painting in a different way. The family I worked for had a pool that was similar to the one Hockney painted, with sliding glass doors that allowed me to look out from the living room into the shimmering pool while I worked with the children inside the home. On Thursdays, the housekeepers and pool cleaner would arrive in the morning to complete their duties, and their image is something I wanted to introduce into Hockney’s famous work.
The title “No Splash” came about from my desire to shift the focus from the splash to the worker. Unlike the splash in the original work, the image of the workers don’t create a splashy scene, and the only trace they leave behind could be seen in the spotless windows and radiant pools they are tasked to maintain.
KS: Fine art is not typically accessible to the working, lower, and lower-middle classes (as defined by income). Is it important to you that your artwork be accessible financially to the people that your paintings depict?
RG: One of the housekeepers I worked with once told me she loved art and would be interested in stopping into galleries and museums but felt out of place … Sometimes, she said, she wished she had the time to go see art but her schedule didn’t allow her much free time, the artwork in the homes she cleaned would have to do. The room I had with the family in the home where we worked was filled with my artwork, and she would mention to me how she liked cleaning my room and seeing what I was creating. When she saw my magazine work, she mentioned how much she loved them and how she had never thought about herself as an art subject. One of my early magazine paintings, called “Leticia,” was inspired by her.