...The photographic work allows Ramseyer to be more experimental, not so objective, to be concrete and at the same time conceptual [...] the most interesting part of her work is in the representation of an image that does not have an immediate connection with the object and, therefore, it moves away from the tangible world. Without a doubt, there is a reference (almost always identifiable) to a fragment of the natural world, but creating a deliberately organised scenario, an original mixture of form, color and light designed to mark a separation between the object and its context.

Anything, in Ramseyer's creative gaze, can be transformed into an abstract version of itself. The framing, the use of the macro or the unique angle chosen, make the image become an abstract pattern. And this non-objective perspective, which is what I find most motivating, invites the viewer to make his or her own interpretation of the subject.

I suppose that in this free interpretation we can establish a series of parallelisms with the work of Zygmunt Bauman, to which the author refers in the title of the exhibition: Liquid Space [...] Bauman gives me a feeling of immobility, his diagnosis is dense and does not leave much room for activity; he does not offer us any hopeful message; there are no encouraging promises; there are no easy predictions; there are no comfortable recipes. However, in Ramseyer's photography it seems to me that the world can be different and even better. But what I like best about Bauman is what I like best about Ramseyer, because both record the vaporous atmosphere in which our lost lives float.

"Photography implies that we know something of the world if we accept it as the camera records it."
Susan Sontag

...Inés Ramseyer Dayer has found in artistic photography a different way of understanding and looking at the world.
Revealing her need to find a balance between scientific knowledge and the emotional experience of matter, her snapshots reflect that other side of reality... Sensual, fluid, organic, luminously abstract and difficult to identify, Ramseyer's photographs explain her other way of looking... Obtained without any manipulation, their appearance makes us think of the instability of all natural processes... Because [her work] seeks the random coincidence of different physical and temporal effects on the same matter...
We face a creative space that was mainly thought and built for personal delight. However, Inés Ramseyer... began an intense process of searching for her own personality in the world of images.
[...]
Impregnated with her desire for empathy, Inés Ramseyer's photographs seek the complicity of the other's gaze, relying on the expressive force of that visual framework that turns an ephemeral instant into symbolic matter for the conscience.

Like fragments of experience chained together, Inés Ramseyer's visual games promise nothing more than the pleasure of their contemplation and are open to the potential imagination of their observers.
They do not attempt to criticise the world... They don't want to shake consciences... They do not even try to be "contemporary" or "actual", nor do they pursue the complicity of criticism. Influenced by the experimental path of photography that began with the first avant-garde movements, they possess the authenticity of what has a profound personal meaning.
Susan Sontag once admitted that "photography, which has so many narcissistic uses, is also a powerful instrument for depersonalizing our relationship with the world"... Inés Ramseyer pursues exactly the opposite. For her, photography is an enriching activity that expands her relationship with the world. More similar in their aesthetic effects to abstract paintings, the desire to understand aspects as diverse as the relativity between large and small, transitory and permanent, or organic and inorganic, animates them.

... Inés Ramseyer's "small universes" tell us of the pleasure that human beings experience every time they are faced with the challenge of possessing knowledge that was once secret to them.

I think that her photography is a complex and diverse inquiry into the spatial, which does not disdain the material or the temporal. Space is undoubtedly her index of resolution and through it she agrees on tensions and harmonises associations. But there is one thing to emphasise: there are no loose ends in her work. There is a coherence of processes that -although they tend to look for other morphological, chromatic and backlight contrasts- reveal interactions with previous periods, already developed. Links in the same chain, of course; not unconnected treatments and periods, which make it difficult to integrate a totalising view.

Thus, Caleidoscopio is a creative stage in which, above the dominance of the blues, there is a great and delicate chromatic counterpoint. In Curvas, it is the suggested movement that most achieves a dynamic of possible aerial bodies. Fisuras constitutes a subtle material exploration of natural forms that compete with each other in an almost palpable expressionism. Serenidad touches the pictorial without impositions: they are photographs of creation, without ambiguities. I am impressed by Barroco-Evolución as an intermediate stage, as a transition. On the other hand, Láminas, with its contraption of backlighting and beautiful games of transparencies, is an accurate path. Like Dunas, forests of non-transferable perceptual resonances that go from the sensory to the sensitive.
The works that are concentrated in the Velocidad series, generate very accomplished unrealities. Shapes that melt away, ungraspable bodies that overcome the dreamlike.
Acuarela is for me another non-significant transition in her work.
On the other hand, Tramas, Hielos and Seta deserve a judgment that is not complimentary for its own sake: a little bit, within that concept I expressed of Orgonomy, which refers that "form is frozen movement". Very fertile and clear periods in their statements, in their developments.

Her photography expresses unconventional worlds, of course. Besides being creative (which is obvious to emphasise) it is a photography with backgrounds, sometimes explosive in its contrasts, sometimes rich in metaphorical suggestions, sometimes sensual in its rhythms and displacements. It is a photography that is born from space, it is worth reiterating. And it runs through it / projects it / resignifies it / scrutinises it with vehemence. It is an intimate and at the same time persuasive process. A process in which conventions and formulas do not matter: everything fits in the investigation. Everything can happen in the magic of composing, glimpsing, interpreting, capturing the precise light.
It is important to me to see that she is a refined colorist, who articulates a highly expressive palette. Forceful at times. In short: calmly, my judgement is very positive in the face of a work that is encoded in suprasensitive agreements and analogies.
A world within a world. What audacity! 

The works of Inés Ramseyer have often devoted meticulous attention to what appears on the surface of the water, "what you see" in it... On the edge of the seafront, or on board a boat, leaning over its railing, the artist is determined to try and capture that precise moment that we associate with documentary photography or reportage, only now the event is completely devoid of drama and denouement: it is a micro-story without relief, literally. There is no depth in these events, all superficial play and glimmering, which are exhausted in a combinatory recreation of changing forms, streamers, giving away, yes, a brilliant and distant way with respect to the portrayed object.

[...] In other series where our protagonist rearranges a small stage box, pure means (colour, line, area of light, clarity, etc.), while figuratively rearranging themselves, suddenly recover, and beyond what affects the size, their scale... how would we say, vital?, experiential?, life?, life?... Yes, more or less: in these exceptions, Ramseyer becomes more concrete and graceful, less spiritual or abstract; while the price she pays for it is that her presence -the gaze linked to the body- imposes itself abruptly and conspicuously, interrupting the metaphysical discretion to which she has accustomed us in the rest of her series, so linked to ideals without concrete, pure and net formal references.

[...] In my opinion, however, the most successful works of this photographer remain ambiguously and fertily halfway between both drifts, equidistant from the poles of tension. Perhaps due to her long dedication to the world of architecture, those same works where the happy impulse in the face of the instantaneous rapture of the world (like a fleeting ready-made that is not "chosen", but "captured") and the rhetoric of colour are contained, at the same time, the most tectonically locked, because it is precisely in them that we detect the greatest regularity of structural patterns guiding the whole, a greater intentional load, as well as more successful serial formulas, beyond the mere coincidence of aspect that can offer the same motif approached from divergent perspectives.

[...] With these principles, it is therefore worth stopping for a moment to discover all "what can be seen" in these fragmentary and flamboyant images by Ramseyer, so powerful in their resounding presence of colour and firm graphic presence; as well as to follow closely, insofar as she herself makes it possible. To look at "what one sees" in order to imagine "what one can see"...; that is, in my opinion, the formula to follow in front of the work as in front of its progress. 

One of the most worrying characteristics of contemporary art is its tendency to remain, at times, very conceptual and boring. It becomes too serious, losing its lyricism. It is as if plastic manifestations, to have any value, need to be more dense.

Photographer Inés Ramseyer's images avoid this risk. They bring an aesthetic restlessness marked by the union between feeling and thinking, in the domain of light. In her visual investigation, there is the concern of capturing impressions from the most diverse perspectives.

Even more important than verifying if the images are linked to concrete references, is to appreciate the way in which she achieves, with the incidence of light, the dimension of photography. It is not a question of finding recognisable representations of water, air, earth and fire, but rather of dialoguing with reflections that arise from optical effects present in nature.

Abstract art is very close to the plastic vision of the photographer's world. The images she creates are full of technique and emotion. The first lies in the know-how, close to the continuous development; the second, in the connections that are established between what exists, what the artist sees and what she records in the form of an image.  

With Pequeños Universos, the artist makes us participate in the vitality that surrounds her artistic production. She tells us: I photograph only what allows me to rediscover experiences, and then she clarifies for us the search of imaginary spaces, which shows us that in her work there is the look of discovery, fleeting moments where the memory rediscovers the fascination of luminous instants that take us from that revealed reality, towards other sensitive spaces, where we are allowed the perception of the ephemeral.

Ramseyer builds with her photographs an organic, luminous, movable and vibrant architecture. Her lens captures instants similar to the search of Toyo Ito in his Kasama House, where more than talking about architectural elements, in the sense of those that are fractioning the architecture, she presents us with neutral and abstract elements that are surrounding the areas of light. However, Ramseyer's work is freed from the obligatory constructive execution that all architecture has and shows us that rhythmic, fluid, passing world, retained by her eagerness to shape that imaginary space of which she constantly speaks to us.

The fascination of image capture is not new to her. Her restless camera has recorded multiple thematic series, supported by her personal and professional interests and made possible by her countless trips to varied and exotic locations.

Today, on the other hand, Ramseyer has configured a much more lucid and personal view, investigating the universe of natural forms that make up these micro-landscapes. This exhibition, of powerful visual pregnancy, presents in large formats, almost abstract images of a resemantized, almost intimate natural world.

Densely populated with a saturated and forceful chromatic alphabet, almost absolute in its equation of harmonies and contrasts, colour is amalgamated with its own light without attenuation, resisting the distraction of the superimpositions, in its last instance photography becomes almost a painting.