He went from nanny to artist. His muse is the men and women who make L.A. work

When he was a boy in San Bernardino, Ramiro Gómez Jr. shared his dreams of becoming an artist with his grandmother.

In “After the Fire,” three exhausted firefighters lay to rest beside luxurious outdoor patio furniture, a charred hillside in the background. Beside them, a darker-skinned man in a baseball cap waters the lawn.

“The fact that he’s making a living off of his work doesn’t exclude him from the greater narrative,” Hirugami said. “He is going to be questioned for the rest of his career because he’s not a white artist in that larger narrative, but that doesn’t mean that his voice isn’t as important. That just means that he doesn’t fit the mold.”

At his show at the Charlie James Gallery, “Here, for a Moment” and “My Cousins and Aunt Without My Tío Carlos” touched on the effects of deportation on families. In the former, a woman sobs as a detained man is taken away. In the latter, a man-shaped hole in a family portrait marks the spot where a graduate’s father should have been.

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