photography

"La pelea", the process by Michele Del Campo

My paintings have a complex construction most of the times and here I show an example of how I use my reference material to convey the visual idea that I originally have in mind. Sketches are the first and most important stage of the creative process, they are a dialectic research inside one's own resorces. Sketches do not only fix visual thoughts on a permanent support but also catalize their development from the stage of an abstract concept.

Photography is the following stage, the skecthes become now my guide towards a richer source of reference. Nevertheless, photography also contributes to develop further the initial idea, as they confront one with reality, which has to be tackled with a more adaptive approach.

The next stage is working out the composition through a rough elaboration of the photographic references, which can be many and from various sessions.

Finally I take the brushes for the real painting. Here I re-interpret and re-adjust the information that I extract from my rough photographic composition giving it the intention that comes from my original idea. I can also change completely the appearance of some character if I need (in this painting, for example, the central character, the guy that struggles to start the fight, appears also on the right hand side, leaning against the wall, but I changed his appearance).

This is the original reference material

New photos in Valencia by Michele Del Campo

I am an individual artist, I don't have a team work and a big budget so I have to rely on friends, improvisation and creativity to find what I need as a visual reference.

Only one month after my previous journey, I went back to Valencia in the middle of February, as I still had in mind some good ideas and locations for a photo shooting with Carles and friends.

I went well prepared with a precise idea of what I needed, after my previous visit to Valencia and many sketches studying the scenes. The chosen location was a bridge on the peculiar Turia old river bed, which now is a park that stretches along the old city walls (the water has been diverted from the city after the Big Flood of 1957). The dried bed of the river has left large, imposing bridges under which pedestrians can go by. If I give these bridges the right atmosphere in my paintings, it can be ideal to host scenes of dark, gritty and desolated urban environment, which will be a common feature in my next solo exhibition "Journey of no Return".

I needed several male and female characters with a fairly rough look idling about under the bridge, a couple of nice looking girls with an upper class appearance and a scooter, possibly an old Italian Vespa. Sometimes the air had to be tense and the anger tangible among some of the characters, creating a sharp contrast with the two upper class girls passing by. Carles and friends had to play the role of the rougher young people, while the beautiful sisters Carla and Alejandra had to be the more elegant girls.

The difficult bit was to find an old Vespa, in fact, looking around in Valencia, I realised that this is a very rare scooter nowadays. However often I have inexplicable strokes of luck and just the day before the shooting, in front of my flat's door, while I was entering after my unsuccessful search, a guy with a beautiful and curvy red Vespa from the Sixties came to stop just beside the door. Javi is his name and he is the owner of "La Oveja Negra", a quality restaurant and tapas bar near Plaza Xúquer. He at first liked the idea, so very kindly accepted to take the Vespa to the shooting and even to pose with the others.

Trip to Valencia by Michele Del Campo

For my new project "Journey of no Return" I had a particular scene in my mind, inspired by a dunes beach near Valencia and I flew all the way to there to gather reference material. In the beginning of January the sun was quite bright and the temperature higher than 20º! What a treat for someone coming from freezing  London! However pleasurable, what I needed was actually a grey, wintery setting, but luckily, towards the end of the day, colourful dark clouds would float about in the sky, giving it a little of that dramatic appearance that I was after.

In the following days I took several walks in the city to find interesting locations for some shoots. I saw a bridge and I halted to fantasise about a group of young people under it, half visible in the shadow and some of them disappearing under the beams. I soon phoned Carles, a very nice friend of mine who has loads of friends in Valencia. He was very pleased to help me and assumed all the weight of the organisation for me, phoning friends to check immediate availability and telling them what was needed for the shooting. I wanted at least four people to pose but at the end seven people turned up and were very happy to pose. It was not that easy and nice for some of them, who had to climb up to the beams by a ladder which was not long enough to make the task easy. Big thanks to all of them, particularly to Carles, for giving me their time.

I start my project "Journey of no Return" by Michele Del Campo

Finally I have begun to convert my sketches and ideas into photos that will be my main reference for my next painting project which, with many probabilities, is going to be named "Journey of no Return". After several months of thinking, doubting, processing raw ideas on paper, reading, looking at new references, experiencing real-life situations, I have come up with this new solo exhibition project which will show a darker side of the reality, in comparison with my previous paintings.

For a couple of paintings I had to look for a disused rail tunnel to use as background and, after a long research, I found just what I was looking for. It was a challenge to overcome the bourocratic obstacles that I found on my way everywhere I asked for information, help or permissions. I understood that I had to do it all by myself and try my luck. I researched, traveled, spotted the railway tunnels and found the prohibited way in: it was impressive, a tunnel filtered by the light through a series of magnificent arches.

It requiered a dose of courage and daring to organise the shooting there. I arranged everything the same day (and night...) that I found the tunnels, also thanks to the help and availability of four good friends who would be my models the next day. It was a greatly enjoyable experience for all of us and I was amazed at how they all took the shooting so seriously, also challenging the weather in one of the coldest days of the year. Three of them had no previous experience before a camera but I could not have found better "actors" to stage what my sketches only vaguely suggested.