Bevan Ramsay Art

Meat is not what it used to be. Both chemically (through the over-abundant use of hormones and antibiotics in the raising of livestock,) and conceptually, it has morphed under the ba...

Meat is not what it used to be. Both chemically (through the over-abundant use of hormones and antibiotics in the raising of livestock,) and conceptually, it has morphed under the ba...

Beyond Sociology: The Act of Seeing a Person Text by Edwin Janzen It is hardly surprising that in our society perceptions of homeless persons remain two-dimensional, stereotypical, inadequate. Even for the rare administration tackling the problems of homelessness in an effective, meaningful way, the homeless person’s humanity is buried beneath a mountain of endless statistical markers: mental illness, substance abuse, soup-kitchen attendance, etc. The enormous negativity lingering about the resultant profile permits scant room for other, arguably important accoutrements of the human experience—character, emotion, intellect, beauty, relationship to divinity—and leaves homeless persons basically where they already are: on the street, the objects of middle-class loathing or pity. Struck by this depressing determinism, artist Bevan Ramsay set out to cast portrait busts of homeless persons (one woman, the others men), producing an edition in fine, white statuary Hydrocal plaster mounted on mahogany bases. These portraits, titled Lesser Gods...

Bevan Ramsay completed his graduate degree in sculpture nearly a decade ago, but it's only now that he feels he has truly graduated from his MFA. This liberating feeling comes with a...

Bevan Ramsay completed his graduate degree in sculpture nearly a decade ago, but it's only now that he feels he has truly graduated from his MFA. This liberating feeling comes with a...

Following his first post-secondary degree in Fine Arts in 1994, he trained as a cabinet-maker and completed an apprenticeship in antique restoration. He was co-founder of a successfu...

Bevan Ramsay completed his graduate degree in sculpture nearly a decade ago, but it's only now that he feels he has truly graduated from his MFA. This liberating feeling comes with a...

Meat is not what it used to be. Both chemically (through the over-abundant use of hormones and antibiotics in the raising of livestock,) and conceptually, it has morphed under the ba...

Meat is not what it used to be. Both chemically (through the over-abundant use of hormones and antibiotics in the raising of livestock,) and conceptually, it has morphed under the ba...

Bone China emerged as a reflection on the relationship between synthetic and organic aesthetic properties. By fusing the two, Ramsay has attempted to create...

Bone China emerged as a reflection on the relationship between synthetic and organic aesthetic properties. By fusing the two, Ramsay has attempted to create...

Beyond Sociology: The Act of Seeing a Person Text by Edwin Janzen It is hardly surprising that in our society perceptions of homeless persons remain two-dimensional, stereotypical, inadequate. Even for the rare administration tackling the problems of homelessness in an effective, meaningful way, the homeless person’s humanity is buried beneath a mountain of endless statistical markers: mental illness, substance abuse, soup-kitchen attendance, etc. The enormous negativity lingering about the resultant profile permits scant room for other, arguably important accoutrements of the human experience—character, emotion, intellect, beauty, relationship to divinity—and leaves homeless persons basically where they already are: on the street, the objects of middle-class loathing or pity. Struck by this depressing determinism, artist Bevan Ramsay set out to cast portrait busts of homeless persons (one woman, the others men), producing an edition in fine, white statuary Hydrocal plaster mounted on mahogany bases. These portraits, titled Lesser Gods...