tunnel

"The Way to Darkness" by Michele Del Campo

I have been gathering many ideas in form of sketches and texts for my new exhibition during many months. Now I am picking up a selection of them and, after many re-considerations and re-elaborations, one by one is taking shape on canvases.

One of the images that occurred to me for my "Journey of no Return" exhibition was a naked girl who has just stripped her clothes off and walks dangerously on a railway, defying death in front of her friends. After a few months, where I had been working on other paintings, I retook this scene and reconsidered it under a new light Read more… / Versión española…. I wanted to give the scene the power to evoke solitude and abandonment, so I finally portrayed the girl alone.

The painting deserved a big surface to be contemplated in a scale that would benefit the perception of its dramatic beauty, so I made it into a challenging triptych of 170x400cm.

ESPAÑOL:

A lo largo de varios meses he ido acumulando muchas ideas en forma de bocetos y textos para mi próxima exposición "Viaje de no retorno". Ahora estoy seleccionando algunos de esos bocetos, reconsiderándolos y reelaborándolos y uno tras otros, se van convirtriendo en cuadros.

Una de las ideas que se me ocurrió para mi exposición “Viaje sin retorno” fue la de una chica desnuda que se acaba de desprender de su ropa y camina peligrosamente sobre la vía del tren desafiando a la muerte frente a sus amigos. Después de varios meses, en los que trabajé en otros cuadros, retomé esta idea y la reconsideré bajo otra luz. Quería que la escena evocase la soledad y el abandono así que, finalmente, pinté a la chica sola.

El cuadro necesitaba una superficie grande para que se pudiera percibir la escena en toda su dramática belleza, así que la he pintado en un tríptico de 170x400cm.

"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

"The Fight" by Michele Del Campo

This is how it looks like my big diptych, called "La pelea" ("The Fight"). It's part of my new exhibiting project "Viaje de no retorno" ("Journey of no Return") and now that I know the opening date I can also officially announce my 2011 solo exhibition: it will open in Lima (Peru) on 3rd November at the Galería Enlace Arte Contemporaneo and will end on 2nd December.

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.