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Het werk van Camila Oliveira Fairclough (Rio de Janeiro, 1979) laveert speels tussen figuratie en abstractie binnen de beeldtaal van de populaire cultuur. Ze ontleent alledaagse alledaagsheid en vertaalt die in een schilderkunstige praktijk die graag speelt met wat wel en niet als schilderkunst wordt beschouwd. Haar werk reflecteert ongetwijfeld op een tongue-in-cheek manier op het idee van schilderen, maar achter de humoristische façade schuilt een interesse in het linguïstische proces dat optreedt bij het schilderen van woorden en symbolen. Gevangen in een schilderij vervaagt de betekenis van een woord of een symbool terwijl het beeld ontstaat en iets anders wordt.
Camila Oliveira Fairclough is een kunstenaar en curator, geboren in 1979 in Rio de Janeiro, Brazilië, die woont en werkt in Parijs. Ze heeft drie nationaliteiten: Braziliaans, Frans en Brits. Ze studeerde in 2005 af aan de Ecole Nationale Supérieure des Beaux-Arts de Paris. Geselecteerde solo- en groepstentoonstellingen zijn onder andere Papai Contemporary, Oslo; Centre Georges Pompidou, Parijs en Metz; BPS22, Charleroi; Coimbra Biënnale, Coimbra; Le Crédac, Ivry-sur-Seine; La Salle de Bains, Lyon; Frac Pays de la Loire, Nantes; MuCEM, Marseille; Frac Lorraine, Metz; Frac Aquitaine, Bordeaux; CAN, Neuchâtel; Villa Médicis, Rome; MUDAM, Luxembourg Coty. Enkele curatoriële projecten zijn Aoulioulé, met Sylvie Fanchon, MRAC, Sérignan (2022); Everybody's looking for something, La Salle de Bains, Lyon (2019).
Haar werk bevindt zich in de collecties van onder andere Centre Pompidou, CNAP, FRAC Ice de France, FNAC, FRAC Alsace, FRAC des Pays de la Loire, FRAC Bretagne, FRAC Normandië, École Nationale Supérieure des Beaux-Arts de Paris, Musée des Beaux-Arts de Brest, Musée Régional d'Art Contemporain Occitanie/Pyrénées-Méditerranée, Le BPS22 en Musée d'art de la Province de Hainaut.
Camila Oliveira Fairclough is een kunstenaar en curator, geboren in 1979 in Rio de Janeiro, Brazilië, die woont en werkt in Parijs. Ze heeft drie nationaliteiten: Braziliaans, Frans en Brits. Ze studeerde in 2005 af aan de Ecole Nationale Supérieure des Beaux-Arts de Paris. Geselecteerde solo- en groepstentoonstellingen zijn onder andere Papai Contemporary, Oslo; Centre Georges Pompidou, Parijs en Metz; BPS22, Charleroi; Coimbra Biënnale, Coimbra; Le Crédac, Ivry-sur-Seine; La Salle de Bains, Lyon; Frac Pays de la Loire, Nantes; MuCEM, Marseille; Frac Lorraine, Metz; Frac Aquitaine, Bordeaux; CAN, Neuchâtel; Villa Médicis, Rome; MUDAM, Luxembourg Coty. Enkele curatoriële projecten zijn Aoulioulé, met Sylvie Fanchon, MRAC, Sérignan (2022); Everybody's looking for something, La Salle de Bains, Lyon (2019).
Haar werk bevindt zich in de collecties van onder andere Centre Pompidou, CNAP, FRAC Ice de France, FNAC, FRAC Alsace, FRAC des Pays de la Loire, FRAC Bretagne, FRAC Normandië, École Nationale Supérieure des Beaux-Arts de Paris, Musée des Beaux-Arts de Brest, Musée Régional d'Art Contemporain Occitanie/Pyrénées-Méditerranée, Le BPS22 en Musée d'art de la Province de Hainaut.
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Born in 1979. Lives and works in Paris, France.
Her work was recently the subject of a solo exhibition at ESAD in Amiens (2020) and she participated in the group exhibition Points de Rencontres at the Centre Pompidou in Paris (2019). On the occasion of the latter, a catalogue was published under the direction of Frédéric Paul. She has notably exhibited at the FRAC Pays de la Loire (2020), the FRAC Nouvelle Aquitaine (2020), the Musée d’art de la province de Hainaut in Belgium (2020), the FRAC Normandie-Rouen (2018), the Musée d’Art Moderne Grand-Duc Jean in Luxembourg, the CREDAC (2019), the MuCEM (2017) and the FRAC Ile de France (2016). Her work is present in the collections of the Centre Pompidou, the CNAP, as well as in those of several FRAC: Ile de France, Brittany, Alsace, Normandy-Rouen.
Painting is everywhere: in the advertising logos that surround us, printed on the pages of a magazine, clinging to the serifs of a font, in the atypical signature of a friend, in the worn fabric of a shirt or in the upholstery of a piece of furniture... This is how Camila Oliveira Fairclough saw it, and the possibilities are endless. But can we paint everything? How do we choose? If the painted motif has a certain importance (why paint fish and a comb rather than something else?), it mainly serves as an excuse to create a new painting and as a starting point for all the issues that accompany this creation: how to paint? should I extend the brushstroke? why this color rather than another? Camila Oliveira Fairclough's paintings are composed of various elements borrowed from everyday life: concrete things, abstract things, sounds suggested or transformed into images and the reappropriation of images. And yet, Camila's painting does not have to be read or deciphered to be understood, it probably joins the domain of poetry. The artist lives and paints in Paris. It is the images encountered in the city and in her daily life that are at the origin of her works.
Born in 1979. Lives and works in Paris, France.
Her work was recently the subject of a solo exhibition at ESAD in Amiens (2020) and she participated in the group exhibition Points de Rencontres at the Centre Pompidou in Paris (2019). On the occasion of the latter, a catalogue was published under the direction of Frédéric Paul. She has notably exhibited at the FRAC Pays de la Loire (2020), the FRAC Nouvelle Aquitaine (2020), the Musée d’art de la province de Hainaut in Belgium (2020), the FRAC Normandie-Rouen (2018), the Musée d’Art Moderne Grand-Duc Jean in Luxembourg, the CREDAC (2019), the MuCEM (2017) and the FRAC Ile de France (2016). Her work is present in the collections of the Centre Pompidou, the CNAP, as well as in those of several FRAC: Ile de France, Brittany, Alsace, Normandy-Rouen.
Painting is everywhere: in the advertising logos that surround us, printed on the pages of a magazine, clinging to the serifs of a font, in the atypical signature of a friend, in the worn fabric of a shirt or in the upholstery of a piece of furniture... This is how Camila Oliveira Fairclough saw it, and the possibilities are endless. But can we paint everything? How do we choose? If the painted motif has a certain importance (why paint fish and a comb rather than something else?), it mainly serves as an excuse to create a new painting and as a starting point for all the issues that accompany this creation: how to paint? should I extend the brushstroke? why this color rather than another? Camila Oliveira Fairclough's paintings are composed of various elements borrowed from everyday life: concrete things, abstract things, sounds suggested or transformed into images and the reappropriation of images. And yet, Camila's painting does not have to be read or deciphered to be understood, it probably joins the domain of poetry. The artist lives and paints in Paris. It is the images encountered in the city and in her daily life that are at the origin of her works.
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