Delilah Ramos and Frederic Winkler
Description
New friends Delilah Ramos (27) and Frederic Winkler (40) talk about foster care, cultural diversity, and collaborating with other artists.Subject Log / Time Code
Participants
- Delilah Ramos
- Frederic Winkler
Recording Locations
Culture for OneVenue / Recording Kit
Tier
Partnership
Partnership Type
Fee for ServiceSubjects
Places
Transcript
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[00:02] FREDERICK WINKLER: Hi, my name is Frederick Winkler. I am 40 years old. Today's date is May 20, 2023. We are located in New York City, New York. I am here with my interview partner, Delilah, who's already laughing at me. We are brand new friends, both volunteers and both super connected to the arts and culture, for one.
[00:35] DELILAH RAMOS: So my name is Delilah Ramos. My age is 27. Today's date, 520 23. Location, New York.
[00:51] FREDERICK WINKLER: Fred.
[00:52] DELILAH RAMOS: Fred. Fred is my friend, my new friend that I know from our organization, culture, for one.
[01:06] FREDERICK WINKLER: How did you get involved with culture, for one?
[01:08] DELILAH RAMOS: Like, just to start, I first got involved. I used to be in foster care, and I was in a residential group home, and I actually met them through the group home, and I stuck with them for a pretty long time.
[01:24] FREDERICK WINKLER: Yeah, that's here in New York.
[01:26] DELILAH RAMOS: Yeah, it's here in New York. So I have a question for you. How have you changed since you were younger, if you've changed at all?
[01:41] FREDERICK WINKLER: Oh, wow. I think I've matured quite a bit. I think some of the things that I used to love and hide my love for, you know, like comics and video games and card games, all of those things that I thought were so nerdy and, like, the films I used to watch. As I got older, I realized it's okay to like those things, and I guess I gave myself permission to enjoy those things. So that's how things have changed for me. A lot of the stuff that I loved as a kid still influences who I am today, especially in music and in film.
[02:23] DELILAH RAMOS: When it comes to things that I've enjoyed when I was younger, I can't really relate to that experience because I was always very open about the things. I didn't care what it was. I didn't care who didn't like it. I was a little bug girl. I loved bugs. I would make houses for insects outside for fun, and people were like, she's weird. I'm like, you're boring. So on that level, I can't relate. But I think I've changed probably a bit myself since I was younger, but just in a different sense. I'd like to say that I've changed in my patience for people. I was a very impatient child. My way of the highway, like, to do what I want when I want to. Just also a lot of anger issues I had as well. And now, as an adult, like, I've learned to be a little more patient. I'm not saying I'm that much more patient.
[03:29] FREDERICK WINKLER: Same.
[03:30] DELILAH RAMOS: Just a little bit, though.
[03:31] FREDERICK WINKLER: Same. Yeah. I think I respect people and their opinions a lot more now than I did when I was younger. I think I went through a angry, rebellious phase, like you're describing, too. But was there something that, like, happened in particular that helped you understand, like, wow, I should be a little bit more open to be being patient towards people?
[03:53] DELILAH RAMOS: Yeah, I think it's just more of, like, my life experience. As I've gotten older, I've just realized that not everyone views the world the same way you do, or even situations, and it doesn't really affect you. And it has nothing. It's not a reflection of myself. It's more of, like, that's their views, that's their experience, and it's through their eyes, and it's kind of allowed me to, because a lot of things I also would, like, take very personal or I'd be offended by. And now I'm like, okay, that has nothing to do with me. That's you. That's how you are. And you also can just change everyone or expect people to meet you where you're at because everyone's lives are different.
[04:45] FREDERICK WINKLER: Yeah, I think that's something that I've learned. Working with culture, for one, and good shepherd is like meeting the people where they are on that day, whenever we come in to do workshops and writing and acting, it's like, if people aren't interested in doing this, let's find out why if they're not interested, you know, like, I did a workshop a couple days ago, and the kids just had one of their friends within the community removed from the house, and it was devastating to a lot of them because they looked up to this kid and didn't really understand what happened. So it felt disingenuous for us to come in there and be like, okay, forget about what just happened. Let's. Let's do a writing exercise, and let's do some acting and some theater games. It just doesn't feel right. So we left the door open for them to write what they were feeling. And a lot of kids wrote monologues that were, like, hybrid soliloquies that they could talk, talk through their feelings and their experiences. But, yeah, I totally understand what you're.
[05:50] DELILAH RAMOS: Talking about now that I think of it. Like, now that you mentioned, like, Gss and culture, for one, when I was in care, I was under good shepherds, and I think maybe a lot of my patience did come from being there and living with so many different people with different just life experiences. And also, I was there because I chose to be there. I chose to go to foster care, and a lot of them. That wasn't their experience. So I felt like I had to understand that my dynamic of, like, navigating foster care was very different from theirs.
[06:32] FREDERICK WINKLER: Yeah. So you, like, just even meeting you right off the bat, you have, like, this strong sense of independence and autonomy. And, like, I feel like you have a really strong personality, and that's something that you've carried with you throughout your whole life. Is this something that you learned? You talked about, like, getting a bunch of different experiences from people within the system? Is it something that you picked up from other peers in the group or.
[06:57] DELILAH RAMOS: I think it's something I've grown up with, actually. Like, I've been. I've known. I've moved around a lot of my life, and I've been in a lot of really difficult situations, so I didn't really have a choice. Well, I guess I did have a choice because I could have let the world beat me, beat me up, but I chose to view the world with, like, strength. Because if I'm going to inspire others to make change, I can be. I don't know. Not that you can't be vulnerable, because you could be vulnerable, but you can't be. Be into the point where it's, like, you give up. So I've allowed that experience to really, like, give me strength. And I've also. At five years old, I was held at gunpoint. So I always use this example of, like, strength and bravery because it's actually. It's funny to me reflecting on it. Cause I was held at gunpoint. I lived in Florida. I was in an empty park with my family, and, like, some strange guy, he basically did something really bad to my parent. And then he came out and he was threatening me, my sisters, and I'm never gonna forget, like, my reaction was that I had Kool aids due to the old school kool aids that are, like, plastic. It was to shoot him with a Kool aid. And I think about. That was my first, like, sense of, like, bravery and strength. And I was like, as a child, I'm like. I thought it was silly. I'm like, no one's good. A kool aid's not gonna do anything to anyone. But in my eyes, I was like, I'm gonna shoot this man back. Cause he's not gonna scare me. And I think that's how I, like, kind of chose to live my life since then. Yeah, I'm in the face of bravery.
[09:21] FREDERICK WINKLER: Thank you for sharing. That's it. That's incredible. I mean, to try to learn that at such a young age, and I'm sure you've been through. I mean, again, I'm just meeting you, but you seem very well adjusted for having, through having overcome all of these, these situations and these challenges throughout your life. And now here you are. You're an inspiration to a lot of other people that are within the program as well. They can see, like, hope. I think that's super important for the kids that are in those programs to understand that there's life at the end of this when you finish and you work your way through the system. So I'm sure it's wonderful for people to see this and hear you talk about it.
[10:06] DELILAH RAMOS: Thank you. And that's why I choose to do it, because I think it's important to encourage others to live a life like, not fear based and not based then, like, I think it's important to be courageous no matter what your experiences, and also not to let just the world beat you up. Like, I can be upset about my experience, but others have had it worse than I have. And it's more about, like, how you navigate the situation and how you use your story to. It's basically how you use your story to make change in the world and to make a difference and to impact others in a positive light.
[10:52] FREDERICK WINKLER: Yeah.
[10:55] DELILAH RAMOS: So you tell me about a time you. How have you, like, navigated your life? What made you, for example, I know we spoke about earlier that you had trouble, like, opening up about the things you like and stuff, and now you have. What made you do that?
[11:14] FREDERICK WINKLER: Yeah, I guess the different, you know, I grew up in a pretty homogenous town that was Houston, Texas, and I'm first generation american. My mother is Vietnamese and my father is Swiss. So there was a little bit of a cultural barrier whenever I was living in Texas because it has such a strong identity. So I guess trying to figure out where I fit in when I was younger with different groups and kids around school with the same interests. And I think as I got older, I started to celebrate those differences instead of see them as areas where I couldn't connect with people. It just so happened I didn't find my tribe, you know, until a little later. And especially when I moved to New York City about ten years ago, it was really important for me to find a community of people that were extremely supportive just with, like, the weird ideas that I have of, like, hey, let's do a virtual reality movie, or, hey, let's do a, you know, tv, film play kind of thing. So celebrating these ideas and celebrating the curiosity, I think, is something that I've learned as I've gotten older. Yeah. Yeah.
[12:44] DELILAH RAMOS: So you kind of spoke a little bit about how, like, how was growing up in Texas as a mix person? I grew up in Florida when I was younger, and I had to deal with a lot of racism and blatant racism. Did you have a similar experience? Yes. No. How was it for you?
[13:06] FREDERICK WINKLER: Yeah, I mean, I went to Sharpstown High School, which is kind of in a, you know, what people would consider not one of the better suburban areas in Houston, but I didn't know the difference. I loved it. You know, the high school that I went to was. Happened to be at the time, you know, having the highest dropout rate in the nation, but people were leaving school because they needed to help to support their families when they got to an age where they could work. So I learned pretty quickly that, you know, making sacrifices and working, no one should be judged for any of that. But growing up in Texas, especially in Houston around that time, is like, you know, I love George Strait, and I also love fat Pat and DJ screw. Like, that was kind of the biggest cultural melting pot I could ever be in. You could find really incredible mexican food and really incredible vietnamese food, and then at the same time, have some of the best barbecue in the nation. So it was like a really cool melting pot of a lot of different cultures and ideas, and I still think that stuff impacts me today. Yeah. Especially in my creative life.
[14:35] DELILAH RAMOS: Do you think that's where you kind of found or been able to explore culture and cultural differences and people? Like, my personal experience with that would have been, like, I've navigated that by just moving around so much. I've moved around a lot. So it's like, I've been in so many different spaces and places that I wasn't just one. Was it only Texas that kind of, like, allowed you to, like, understand, like, cultural diversity?
[15:09] FREDERICK WINKLER: Yeah, I think a good part of it came from living in Houston, but again, that's kind of a. It's oddly like a bubble, like, New York City is as well. So getting a chance to, like, fully immerse yourself in a culture, you know, and have to, like, travel to get more of that, more of a deeper experience, to kind of witness it day by day, but, you know, something as small as, like, taking off your shoes before you enter a home, you know, what times we eat our meals, what we eat for our meals. So, yeah, I think, yeah, a lot of my. I guess, cultural education came from a combination of living in New York and living in Houston two of, I think, the biggest melting pots in the nation. But that has me, like, kind of thinking about a question I was going to ask you earlier about, you know, being able to experience a lot of different places as you were growing up and moving around. How did that help influence your tastes, and what did those places teach you about yourself or about cultures?
[16:28] DELILAH RAMOS: Yeah. So moving around a lot, I don't know. I was born in the Bronx, moved to Florida when I was really young, and I didn't live in. I lived in, like, Tampa Bay, in an area called the Nota Sassa, where a lot of people don't know what the Nota sassa is, and it's in the handlebar. And I lived in a trailer park, and then I. So here I am, born in the Bronx, and, like, when people think of the Bronx, they're like, yeah, Bronx tough. And it was when I came back, and then I go to the trailer park, and that's where I picked up this accent, because this is not a Bronx accent or a puerto rican accent. And I don't know, moving around, I don't know. It allowed me to kind of, like, see a lot of different experiences and people and cultures both similar to my own and different as well. I'd say, like, it maybe that answers the question, too, a little that we spoke about a little earlier. Like, it's kind of allowed me to just be a melting pot. And I think being a puerto rican person as well is. You are a melting potential. When we look at, like, my genetics, if we talk about, like, what my DNA looks like, it's Spaniard, Portuguese, Taino, West African, Jewish, like, French. It's like, so I guess being a melting pot and then traveling everywhere, it's like I've just been able to be open to people and their experiences and their ideas. And I love to learn also because it helps influence my art, because I'm an artist as well.
[18:18] FREDERICK WINKLER: I didn't know that. What kind of art do you create?
[18:20] DELILAH RAMOS: I'm an oil painter. So I started oil painting in high school, and I had a fantastic high school teacher. I went to an art high school, and I was a dropout. I hated school. I didn't go. But since it was an art school, I only went to the art classes, and I only showed up for the art classes. And I had this one teacher I'll never forget. She just looked at me one day and she was like, you're gonna be an oil painter. I had never painted, never in my life. And I looked at her like, girl, what are you talking about, like, what are you talking about? I'm gonna be an oil painter. Okay. And then she was like, come. Come next class. I have a good feeling. I have a feeling you're gonna be a painter. We're gonna start learning oil painting. And that was the first day I picked up a paintbrush, and I actually was really, really good my first time. And it's kind of, like, led me into a path of just oil painting and portrait painting in general.
[19:20] FREDERICK WINKLER: Okay.
[19:21] DELILAH RAMOS: So, yeah.
[19:23] FREDERICK WINKLER: Wow. I have a tremendous amount of respect for oil painters in particular, because you're creating so many layers of work that build on each other, and it's. Every single stroke is very important. But that's just my limited knowledge of, like, watching Bob Ross on, you know, PBS or whatever.
[19:46] DELILAH RAMOS: But I'm a Bob Ross hater.
[19:47] FREDERICK WINKLER: Are you a Bob Ross hater?
[19:48] DELILAH RAMOS: No.
[19:49] FREDERICK WINKLER: That's controversial.
[19:50] DELILAH RAMOS: Oh, my God. Everyone who hears this, I hope they're not offended by that.
[19:54] FREDERICK WINKLER: That's a hot take.
[19:55] DELILAH RAMOS: Yeah, but, like, I'm just, like, a little bit of a Bob Ross hater. I don't know. Maybe it's because, like, I'm a little, like, I understand.
[20:01] FREDERICK WINKLER: That's why we're enemies.
[20:02] DELILAH RAMOS: Uh oh. Arts nemesis. Now, Bob Ross is my art nemesis. He brings too much joy to oil painting. I'm like, where's the sadness? Where's the deep emotion?
[20:11] FREDERICK WINKLER: He's like, that's actually a really good question, is, like, where do you find a lot of your inspiration and, uh, in. In your work? Is it from your past? Is it from your experiences? Is it from other artists that you're watching? Where does it come from?
[20:26] DELILAH RAMOS: I say a lot of. So, at first, I was just practicing when I first became a painter, and I was just like, portrait, portrait, portraits. I was worried about just the skillset. And then as I started working on my own work, I was like, actually, I'm getting tired of portraits. So kind of, like, now my work, I'm working on series based on, like, dreams and visions I have because, like, I'm very spiritual, and I get a lot of dreams and premonitions and visions, and it's about, like, my spiritual experiences and trying to make them realistic enough so people can see, like, what I see in my mind when I'm sleeping.
[21:06] FREDERICK WINKLER: So kind of, like, abstract.
[21:09] DELILAH RAMOS: Not abstract, really. Not abstract at all. So, a piece I just painted was a piece of a vision I had where I was, like, talking to God. And in this vision, I was on a green mountain top. Green top of the mountain. Blue clear skies and I just see a light in the sky, like, the brightest light you could think of, like, if someone's flashing a flashlight in your face, but, like, way bigger than that because, like, it's in the sky and the light was just talking to me and it told me it was Goddesse. Wow.
[21:49] FREDERICK WINKLER: Have you always had a relationship to spirituality and religion? How did you form that? And it seems like that informs a little bit of your work. So talk to me a little bit about that.
[22:01] DELILAH RAMOS: So I actually grew up really christian, pentecostal specifically. But also I went to a pentecostal church, evangelical church, Catholic Church, Baptist Church. Every form under Christianity you could kind of think about, I've experienced. I left the church. And it's more because, like, I also wanted to incorporate my indigeneity into my practice. And just practicing, like, Christianity, I felt took away from, like, indigenous practices because it was a tool to erase our history as well. So now it's like I'm navigating, not even looking through the lens of, like, oh, just Christianity, just more of, like, what is the world? Who not even, who, like, what is spirituality? What is spiritual practices around the world? What are their beliefs? What are similarities? What are the differences? And, like, how they're all intertwined in a way. And by doing that, I try to find truth in the similarities across the board.
[23:13] FREDERICK WINKLER: Wow.
[23:13] DELILAH RAMOS: I like to study, like, cosmogenesis and creation, and this is bullying my philosophy.
[23:21] FREDERICK WINKLER: This is blowing my mind. So can you talk to me a little bit about your creative process? So, like, is it oftentimes the pieces that you paint, are they inspired by these visions, or are there different things that become inspiration for you? And when you sit down to create something, what are the first steps? Like, before you even put a stroke of paint, what do you do to kind of get yourself into specifically?
[23:52] DELILAH RAMOS: It's, like, literal. So since I'm a realistic portrait painter, I was like, how am I going to step out of my comfort zone? And one way to do that was like, okay, well, I could start by trying to create what I see in my mind. And for a lot of people, they're like, oh, you're an artist. That must be easy. You must see, like, pictures in your mind. For me, that's not how I think. Like, I don't see in images. I see in words, thoughts only. Like, I'm not a visual, like, creative person. I'd say, like, people who, like, get these ideas and, like, I'm envisioning like this and this and that. I'm like, girl, I have the ideas, but I don't see the picture and how it fits. I was like, let me try to paint what I see in my mind's eye and just show the world my spiritual awakening exactly the way it's been. Because sometimes I've spoken to other people, and they've had very similar experiences, and that's always fun to see. I tell them, or they'll see a painting, and then I'm like, or a drawing, and I'm like, oh, I've actually seen this, and I've experienced this. And they're like, wow, I've seen that too. And I'm like, what?
[25:02] FREDERICK WINKLER: Wow. So that was actually the next thing I was gonna ask you is, like, how do you find a community of people that connect to your same process and, like, how you work? Are there other painters that you share these ideas with, or do you feel like this is so individual to you that this process is really unlike any other?
[25:22] DELILAH RAMOS: I don't know if it's unlike any other. I think arthem is, in my opinion, the best way to have a spiritual connection, because, like, we are filtering these ideas and thoughts through not what's always our experiences, but, like, things we receive. And people are like, oh, well, that's just a thought. I'm like, it depends on how you as a person take it. But I believe, like, not everything is just our personal thoughts or just, like, opinions or ideas. Sometimes I'm like, okay, well, this thought pops up in my mind, and I was not thinking of it. Never thought of it. Why would it pop up in my mind? Haven't experienced it. And I take that. I talk to people. Some of my friends are artists, but their art doesn't really influence mine. And I don't know any artists that actually really influenced me. Maybe the styles of the work may influence me. Like, I love Picasso's rose period, and that's kind of where my earlier work kind of was influenced. But, like, my newer work, I haven't met any artist. Yeah, it lives on its own. Like, no really outside influences, except probably when it comes to the skill of how I'm creating the art.
[26:41] FREDERICK WINKLER: Okay, wow, that's great. And something that I also noticed with you is, like, you have such a robust personality, and you're not afraid to express how you're feeling. You know, you talked about your relationship with your anger, your relationship with your past, and you got a little bit of emotional when talking about it. Do you feel like you get emotional when you're working and, like, are you expressing some of how you're feeling through.
[27:13] DELILAH RAMOS: These brushstrokes, I don't get emotional when I'm working. I have used it as an outlet in a way, actually, that's how I kind of started painting when I was in high school. You know, there's the story of, like, my teacher, right. But it's like, when I actually stuck to it, it was like I was really depressed, and I was like, oh, let me just. I actually had insomnia, so I couldn't sleep, so I had nothing else to do. And I was like, let me just paint to kill the time, because I'm up for three days straight. Three. Two days straight. I'm like, I'm bored and I'm tired. And I didn't have a tv in the group home except, like, outside in the common space. So I was like, well, what am I gonna do in my room? Just, like, bored all day? I would just paint, but I wouldn't say my art is. It doesn't really make me emotional, but I feel like it helps me actually, like, distract myself sometimes in a weird way because it's like I'm expressing myself, but at the same time distracting myself.
[28:21] FREDERICK WINKLER: Yeah, you're maybe distracting your subconscious a little bit. Yeah. I'm excited to see your work. That'd be so cool.
[28:32] DELILAH RAMOS: I would love to show you my work.
[28:33] FREDERICK WINKLER: Yeah.
[28:34] DELILAH RAMOS: Thank you.
[28:34] FREDERICK WINKLER: That'd be incredible.
[28:36] DELILAH RAMOS: So I have a question for you.
[28:37] FREDERICK WINKLER: Oh, no. I've been successfully asking you so many questions.
[28:41] DELILAH RAMOS: It's your turn. So, Frederick walk me through a moment when you realize you needed to leave a community or home and the days leading up to it and what led you to leave?
[28:59] FREDERICK WINKLER: Oh, wow.
[29:02] DELILAH RAMOS: And it doesn't have to be a physical home either, or physical place, but an experience.
[29:10] FREDERICK WINKLER: Yeah. I think there's a sense of an emotional maturity and kind of leaving an older self behind. When I made the transition from moving from Texas to New York City, it was the first time beyond college that I had lived outside of my parents home and just kind of away from them. So. And, you know, living in New York City is one of the toughest things to do. Just learning how to exist and navigate and, you know, the term starving artists is definitely a real, real thing in New York City. But I think it was an emotional maturity that kind of helped me reprioritize and understand why I was here. So I put away some of the things that I, some of the fun things that I used to do to try to concentrate on building a career and a community here. Yeah, that was probably the thing that.
[30:15] DELILAH RAMOS: Immediately stood out well, how has been navigating New York as an artist? Because I don't know. I've lived outside, but most of my life I've lived in New York. And I always say, like, everyone comes to New York to become successful in the arts or, like, LA, California. But I'm like, I feel like you'd be more successful in a place where there's less competition and everyone comes here and they're like, yeah. They're like, fighting it out. They're like, I need to get to the top. I need to do this, do that. I think New York is great for connections and networking, whereas in smaller towns, that's not. But if you're an artist, sometimes it's easier to stand out in a smaller, unknown place because there's less competition out there. There's less people doing the artistic and creative work.
[31:09] FREDERICK WINKLER: Yeah, I agree, but also respectfully disagree because I feel like there's room for everyone. The arts is such a wide community. I think something that I learned halfway through living here, I guess, in the first five years, is eliminating that competition with the people that were in my community. If we were up for the same parts or were we thinking about working on the same material, everyone has their own point of view and comes from their own personal experience, which feeds their own artistic work, and I think it's all valid. There really isn't one person that's right for every single role. I think everyone individually brings their own style and experience to the work. So I tried to move more towards collaboration rather than competition and seeing like, oh, wow, this person is really great at this. What are they doing that maybe I'm not paying attention to in my own work? You know, we hear this phrase a lot that, like, you know, great artists steal from other artists, and I love to get inspiration from performers that are around me that I respect. And I feel like you can get that in New York City. Such a rich and robust theater community that operates on every level. You can walk down the street and see, you know, some really famous comedians workshopping stuff in a basement comedy store, you know, in the East Village. And, you know, some of the best film actors, you know, we see them on stage, and you can really see their craft unfold in real time. So super lucky to be able to do that.
[33:03] DELILAH RAMOS: I like the idea of collaborating and not competing. I think that's something a lot of people aren't taking advantage from. They're so stuck in the mindset of, like, I have to make it on my own and I need to be successful I'm like, you could collaborate with people. And I think it takes even more skill to collaborate with people because you have to learn how to, like, make for Ali's visual arts. Like, how is your artistic talents going to intertwine in a way that's, like, representative of you and them as well? And you also mentioned, so it was the collaboration that stuck out to me and also the stealing from artists. That's why Picasso is one of my favorite artists. And, like, a lot of people think of him as, like, they're like, oh, but he steals all artwork. I was like, he's a master of the minds. He studies the minds of. He studied the minds of some of, like, the greatest artists, traveled the world to be influenced, and a lot of people are like, oh, that's stealing art. I'm like, no, art is original art, especially not at this point. Like, it all derives from something. It's all influenced by something. And it's like, it starts, and that's where, like, people get their own personal kind of style. You can say, but even then, like, your style is always going to be similar to someone else's, even if you try to make it as original as possible because you were influenced by others, maybe if it was the Stone Age, I think it would be a little different.
[34:42] FREDERICK WINKLER: Yeah, I think something else that I wanted to mention about collaboration, I learned this from Anne Bogart. She mentions that collaboration is a mutual respect for each other's work and what you do, you don't necessarily have to love what you do or agree with what they're doing, but I think having a respect for that work helps us grow. And I think what we try to do when we analyze art is we try to find something to relate it to. That's why we're talking about being derivative and being inspired by different work. I'm of the mindset that, yeah, I love to see new things and new takes on original ideas, and, yeah, I'm a big fan of that.
[35:34] DELILAH RAMOS: I love that. And I love how. Cause I don't know. Like I said, not enough people are, I think, collaborating as much as they should, and it's, like, uplifting your community. Like, why can't we all win? Like, literally, why can't we all win? Why can't. If. You know, I know so many artists, and all I'm taught, all I ever tell them is, like, let's collaborate, let's do this, let's do that, do that. And most of the time, they see us, like, a competition and stuff. Like, why can't we build together. Why can't we create together? Why can't we grow together? I don't know. Sometimes I wish I saw that more in the art world, even though I do think we're seeing that a lot more now, in my opinion, at least from my experience.
[36:18] FREDERICK WINKLER: Yeah. Yeah. So what are you doing at Hauser and worth?
[36:26] DELILAH RAMOS: Hauser and Worth. I'm an intern for through culture, for one, at Hauser and Worth right now. And I'm giving tours of Mark Bradford's exhibition. And it's been a really fun project and process. Since I work in like, fundraising, it's easy for me to already talk to people. That's part of my job constantly. So now, like, using that skill set in a gallery setting and it's kind of bringing it back to the art world for me because I've been in the nonprofit world for probably twelve years now. And now it's fun to bring that back into the art world for me because I've been trying to also, like, find space to get back into the art world.
[37:10] FREDERICK WINKLER: Okay.
[37:11] DELILAH RAMOS: But I enjoy it. It's actually really fun. I mean, a lot of interesting people.
[37:15] FREDERICK WINKLER: Yeah. I mean, they're one of the biggest galleries in the. In the world.
[37:18] DELILAH RAMOS: Yeah. I knew nothing about them when I first got the internship and when I was hearing about it, I was like, oh, so this isn't a little small gallery? I was like, oh, they're like literally all over the world. They have locations in the UK. I think they actually started in the UK.
[37:34] FREDERICK WINKLER: Yeah. Well, thank you so much for the conversation and getting to meet you. Delilah, you've been a delight. It's been wonderful to talk to you about your experience and your life as a painter and how much you support culture, for one and GSS and. Yeah, I want to thank you for your time.
[37:56] DELILAH RAMOS: Thank you. And thank you for your time. I think it's actually funny that you said delightful Delilah. That's what they call me. A lot of my friends call me delightful Delilah. I guess it's going to stick. It's meant to stick.
[38:06] FREDERICK WINKLER: Yeah. You got to live up to it.