RAMON S. ALCOLEA was born in Sevilla, Spain, in 1958. He attended the Corcoran School of Art in Washington, DC and graduated with a BFA from Parsons School of Design, New York City. He has received grants from the Pollock-Krasner Foundation, the Massachusetts Cultural Council, and the New York State Council on the Arts. He has had residencies at the Virginia Center for the Creative Arts, the Ragdale Foundation, Blue Mountain Center, the Cummington Community of the Arts, and the Helen Wurlitzer Foundation as well as a fellowship from the Skowhegan School of Painting and Sculpture.

He has exhibited widely throughout the U.S. and his work is in numerous collections including the Provincetown Art Association and Museum. His work has been written about in The Honolulu AdvertiserThe San Francisco Bay Guardian, Provincetown Arts, and The Boston Globe, among other publications.


The series Porthole combines the circular shape that defines a porthole on a boat or a ship and then recreates what might be on the other side. From a vague distant foggy shore to a close exploration of the surface of a wave.

The rhythm of this panorama is arranged by using wood that is already filled with the vocabulary of the created and then discarded, the planned and then forgotten. A calligraphy of symbols that are either etched or erased by nature and man.



In the series Provincetown Found the shapes are reminiscent of sailing vessels, the materials that create these shapes that are grounded in the history of their past create the tension that moves forward and yet remains constant, The wood is found in beaches, creeks, harbors and eventually in piles discarded all over town. The arrangement of the wood creates a staccato of motion that like the waters parted by the prow of a ship return to their unity behind it. The waters and the ship are one.



Provincetown Notes is series of work created from the blended minutiae of nature and town as they flow together, unite, break and unite again.The parts are found and transformed but always trying to keep their essence. A found piece of wood chipped and stained becomes a building or the sea in a storm, a knob becomes a seashell or remains a knob placed at odds with its own ‘knobness’. The uniting core that ties them all together is the belief that the total is always more than the sum of its parts.