The present work "Lola Cola (Leta)" from 1967 is a concise example of Ramos's affirmative-ironic approach to this visual vocabulary of American consumer culture, presented here in an assemblage of Ramos's perfectionist painting technique and an advertising sign for the Coca Cola brand taken from the real world.
The dark-haired, nude protagonist rests her elbows on an enamel Coca Cola sign. Her hands intertwine above her exposed chest, while the lower part of her body is covered by the sign. With a self-confident, dreamy gaze, Lola-Cola - who is Ramo's wife Leta, who has often posed for him - looks at the viewer and merges with the billboard as if it were the most natural thing to do. In this fusion, Ramos reflects on the seductive concept of advertising and mass consumption, equating his Pin Up's with the commodity, as a product of a mass-producing and consuming society. Thus, his artificial female figures oscillate between pin-up, movie star, Californian beach beauty, and the nice girl next door, embodying the intersection of common projections of the feminine. Ramo's artistic reflections, however, are less exposing than affirming and playful. Although he makes visible the phenomenon of the equivalence of woman and commodity, the protagonists of his paintings, with their iconic femininity, appropriate the products of the commodity world in ambivalent ambiguity.
