“My work start with the idea that I, by using a concentrated brush stroke, can communicate human presence by transferring it onto a surface. That I, by transforming a fluid liquid to a solid one can perpetuate the movement of the body through a single brush stroke.”
Interaction between art and the surrounding environment is essential in danish artist Ruth Campau’s work. Her main purpose is to transmit the pure presence by freezing it in solid, turning it into a surface: broken and incomplete surfaces, since her artworks are nothing but a segment of a larger painting, and as such just a representative of human presence here and now.
In her installation, the artist manages to find a new kind of unity between the traditional antipoles of art, as lines and color, immobility and motion, body and intellect. The result is a double approach to the artwork: one connected to the linear
course, monochrome and severe; the other based on the tactile, amazing and combined with space.
Campau’s works are unique, and still can be endlessly repeated. Every single section of the installation offers a surprising potential of expansion, a bushstroke repetition that can be duplicated but will never be the same. Like human beings.
The artist also has a significant eye for the aesthetic aspect, as she’s undoubtedly able to take advantage of the main traits of fluid and glasses. In “Pearl” (2011), she literally cut the painted acrylic sheets into pieces only to recompose them in translucent crystals. Besides, allowding her work to collpase around the corner, she reached another inner meaning of mirroring: now the work has come to reflect not only the surrounding space and the viewer, but also itself.
“It is this reach and the movement dictated by this reach that we recognize – altogether instinctively – when standing in front of Campau’s works, which entails that we are being met by something that, theoretically speaking, should not be
possible: a non-figurative work that describes our own body” (‘Transparency and Presence’, Trine Ross)