LandE scape
Barry Camps
CONTEMPORARY ART REVIEW
reaction . Very often i try to break the geometric and thought -about approach with a reaction which i don ’ t fully control . This can be a stain and / or a different painting medium . The set up is always in acrylics and very often I follow that up with lacker combined with varnish . I use a lot different panting materials and technices . It ’ s up to the effect I like to receive . which material and technique I use . The mathematical and controlled layers ask for a different technique than the organic and more random ones . It ’ s the combination that i very much like in my paintings and which reflect me best as a person .
The body of works that we have selected for this special edition of LandEscape and that our readers have already started to admire in the introductory pages of this article has at once captured our attention of your captivating exploration of the blurry boundary between the visible and the invisible is the way you provided the visual results of your analysis with autonomous aesthetics : while walking our readers through the genesis of your current series , would you tell our readers something about the evolution of your style ?
I graduated in Maastricht with abstract paintings and two years later in Enschede with more figurative ones which became fully figurative and parts even photo realistic in Antwerp . It evolved into a more eclectic style . I combined figurative and abstract and used different styles like pop-art , expressionism , geometric abstraction , photo realism and drawing . In a way I still combine some of these styles but not in such a hard eclectic way . I used to paint the different styles next to each other and now they are on top of each other . By using a lot of layers I can also use a lot of styles without losing attachment . All the layers become one . And in the last years I gained another very important layer by using frames . The frames I use became a huge part of the creation process . In the beginning they were put on as a window , a see-trough , a last dimension . but now they are also involved in the painting process . They can come on and off just like my layers . I feel that they make my paintings more sculptural , 3-dimensional . It also feels right with the worlds I like to create . Every painting is a window into a new dimension .
When showing references to perceptual reality , your pirces convey a captivating abstract feeling that provide with dynamism the representative feature of your pieces . The way you to capture nonsharpness with an universal kind of
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