Natalie Ramus was born in 1984. She grew up in Nelson, South Wales, UK and now lives in Hay-on-Wye. In 2010 Natalie returned to education studying Philosophy, Psychology and Sociology achieving a Certificate of Higher Education at Newport University. Natalie then went on to study Fine Art BA honours at Hereford College of Arts where she was awarded the Meadow Arts Graduate Prize and graduated with a First Class honours degree. Following the completion of her degree, Natalie was awarded a scholarship to study Master of Fine Art at Cardiff School of Art and Design, which she completed in September 2016, achieving a Distinction.


My practise is predominantly concerned with examining the relationship we have with our physical self in a way that is not completely comfortable, but equally not destructive. As intellectual beings it is easy to lose touch with our own physicality. Through my exploration of the materiality of the body I attempt to connect with the innately performative body. Through the re-presentation of bodily materials such as hair or blood that have universal familiarity through subjective experience, I am interested in how the gap between viewer and artwork or artist can be bridged. The viewer becomes hyper-aware of their own body, therefore having a perceived physical experience. The potential for connections to be forged through the empathic experience of shared intimate moments has meant that my  multi-disciplinary practice has become increasingly action based; I am particularly intrigued with the parameters of durational performance// installaction. Where are the edges of the performance? When does the performance begin or end? In fact, when are we not performing?

A fascination with the public-private and appropriate-inappropriate dichotomy that surrounds notions in relation to the body, both in the sense of assumed acceptable modes of behaviour in society and also specifically when discussing the concept of the female in public space, drives my questioning. As a mother I feel much conflict between the label of mother- what society perceives that to be, and how I feel as a mother, artist, feminist, etc. The notion of what qualities society thinks makes a ‘good’ mother is problematic and I wonder how the role is performed on a day to day basis. Through the juxtaposition of the immediacy of the body as site and material, and nostalgic memory-imbued objects which often carry immersive qualities through scent, such as bread, milk or soap, I am interested in how time and memory become elastic; and how meaning is an inherently subjective perspective. 




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