| Biography | Artist's Statement | Inventory Catalogue | Artists Represented | Ramón Singley

Born in Los Angles, California, USA
Lives and works in New York, USA

Bachelor of Fine Arts in Photography and Imaging, Art Center College of Design, Pasadena, California, USA
Bachelor of Arts in Broadcast Journalism, California State University, Long Beach, California, USA

Inventory Catalogue

Solo Exhibitions
“Albino”, Christopher Henry Gallery, New York City, USA
“Streetheads”, Art Beatus (Vancouver) Consultancy Ltd., Vancouver, Canada

Group Exhibiton
Gallery Nine 5, New York City, USA
Installation of Images as Part of International Group Show

Professional Experiences
2007 - Present
Death + Taxes Magazine – Photographed Bradford Cox of Deerhunter. The feature is for solo project, Altas Sound

A Sorcerer’s Apprentice, film starring Nicolas Cage – Still Photographer / Unit photography for night scenes in Midtown Manhattan. Film Release in 2010

aRUDE Magazine – Photographer / Photography Editor / Art Director

Live Nation – Photographed 3 New Artists Represented by the Label + JAYZ

MTV – Photographed “DRES” of the Hip Hop group, “Black Sheep” in conjunction with Priceless Media.& Series of images were featured on MTV’s “Where Are They Now” segment

VAIN Magazine – Art Director / Editorial Photographer

Marithe + Francois Girbaud – Photographed and Art Directed Spring and Fall Lines. Used for advertising wed, print and marketing

Macy Gray – Photographed and Art Directed Ads for Her New Line: Natalie Hinds

POOL Inc. – Photographed advertising campaign for high-rise condominium development in the Meat Packing district. Images used for facade advertisements, brochure and web.

Other Professional Experiences
Relevant Art Directed Concepts with Creatives and Director of Photography
Freelance Writer for Major Publications
Art Director and Photo Editor

Artist Statement

The result of relishing the role of the badaud or flaneur, something I do not proclaim, is merely a description of my lifestyle, which mollifies my allure of people amid the constant movement of life in the streets. The temptation of capturing these fleeting moments without being detected by the subject matter is my way of seeing people.  Most often, I use people amid scenes as a point of view. However, landscapes, or even still life’s along the way, come to the fore as well. The landscapes accent the theme, and function as a backdrop and theatre with which I move about, thus casting a reflection of the lure of the street as a magnetic parcel, which is the foundation of my work. Glibly playing with focus is my way of not always clearly defining life in the street, but merely references the streets as a dream-like oasis; an unidentifiable place with lures of adventure...

“...In 1853, Sir William J. Newton, a painter, proposed that the camera could produce artistic results, and the method he suggested was to use the camera slightly out of focus, a practice that was to be very controversial 50 years later.”

The foundation of my work is the result of my respect for tradition, and my desires to work from a contemporary perspective within a similar approach of Andre Kertesz, Henri Cartier-Bresson, Henri Lartigue, Lisette Model, Paul Strand, Ted Croner, Alexey Brodovitch, William Klein, Sid Groosman, Louis Faurer, Helen Levit, Roy Decararva and others. Many of these photographers I’ve mentioned belonged to, and/or were associated with a group dubbed The New York School Photographers in mid- century (the late 1920’s thru the 1960’s in New York and Paris.)

Far from what I’d consider Campy, this work is a sincere reflection of today’s people and aesthetic as part of a literal reality-the actual face of the glass mirror’s intention minus any slippery kitsch references, which is oft unforgivable in many circles, critiques and cliques. Sometimes there’s information, oft times it’s vague. While there’s obvious information in the image, I, too, am captivated by the second read within the not so obvious shadows, leaving ample room for interpretation within these shadows and less obvious details one can find in the photograph later after having traveled through the characters many times over. It is my opinion these details live a conscious, yet hidden existence with a voice for those willing to discover. This is the beauty of a photograph for me. And while I cannot provide explanation as to how these details arise, I do know they persist to present themselves as a common theme at some point amid the photographic chiaroscuro.

“The new approach is more sincere. It gets under your skin. I value shock appeal, but things should be used which could happen, not things which are obviously posed, obviously artificial,” said Alexey Brodovitch.

Reality is a cornerstone in my work, so to work in a fictitious mode, to put it lightly, would be useless. All of these thoughts have contributed to my lust for documenting my appreciation of life, and it’s my desire to maintain a practice that alters the emotions, exists in reality and has a social relevance, all while coveting the time we’re living in as an obsession of all types of faces, styles, lingo, mood, destinations and independence in our ever changing society. I find it all very amazing.

For further information, please contact:

Canada: tel: (1) 604.688.2633 fax: (1) 604.688.2685