Vanda Campbell
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Portfolios

Absence

The contrasts and connections between presence and absence, making and unmaking, function and dysfunction are the dichotomies that are at the core of my art practice.  The divisions of kinds are brought together in paintings as objects rather than surface images, as the languages of sculptor and painter come together.  Paper can be read as paint; abstract can be read as figurative and incomplete can be read as complete.

Absence is a framed painting in watercolour, acrylic, ink, pencil and gesso on Fabriano Artistico 640gsm HP Paper.  

Cloud, no

Using the recognised painterly language of landscapes, Cloud, no,  explores the ability for an abstract image to read as a landscape.  Painted in watercolour, gesso, acrylic and ink on 360gsm Acrylic Paper.

Selected for Connections 2018, Wells Maltings Trust

Permanent Rose

Permanent Rose is a framed abstract painting in watercolour, acrylic, ink and gesso on paper.  This work is a synthesis of intended intervention. The marks, blemishes, rips and tears that occured during the process of making are allowed to take centre stage.

Selected for Colour of Summer 2018, Upstairs Gallery, Berkhampsted

Quinacridone Magenta

Quinacridone Magenta is from a current series of small works on in watercolour, acrylic, ink and gesso on paper.  This work is a synthesis of intended intervention. The marks, blemishes, rips and tears that occured during the process of making are allowed to take centre stage.

Selected for Colours of Summer 2018, Upstairs Gallery, Berkhamstead

July Open Studios

Cambridge Open Studios 2019
Cambridge Open Studios 2019
modal5572
painting, drawing, sculpture, found objects & photographs
Paper can be read as paint; abstract can be read as figurative and incomplete can be read as complete.
  • Visitors All Year
  • Tuition Given

BA(Hons) Fine Art

MA (Distinction) Applied Arts

This will be my first year taking part in Cambridge Open Studios, and I look forward to welcoming you to my studio, housed in a converted granary, on the outskirts of Saffron Walden.  I am an artist-maker and teacher, whose practice challenges the received view of found objects and materials, and am currently exploring the material qualities of paintings as objects, particularly watercolour.   Some of my early work is  featured in Mary Schoeser’s book Textiles: The Art of Mankind (Thames and Hudson), and selected exhibitions include 10 Days at Winchester Cathedral (award winner),  Draw The Line at Surface Gallery, Pinpoint at Great Missenden Gallery, and 53° North at the New Schoolhouse Gallery, York.  Alongside my art practice, I teach extensively at my studio, as well as providing short courses and workshops for art societies and textile groups nationwide.