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Between December 16, 2012 and January 3, 2013, I met some of the most beautiful people in the Philippines. This series documents their stories. The title "Bukas Na Kami" is a play on words in the Pilipino language. It could either mean "We are open" or "Tomorrow it's us." I'll let the viewers decide which translation they like.
Message me if you are interested in the book. Thanks.
Rework from previous post.
Tibiao, Antique, Philippines
© 2013 Rob Castro
Gallery www.justanobserver.com/
Blog www.juzno.com/
# #IAMGenerationImage
© 2014 Rob Castro
Juzno: What is your name?
Mack: It's Mac.
Juzno: Is that your real name?
Mack: No, it's really Makuling Makabunot.
Juzno: Why are you happy?
Mack: I was able to solve Zeno's Paradox. Contrary to the evidence of one's senses, the belief in plurality and change is mistaken, and in particular that motion is nothing but an illusion.
Gallery www.justanobserver.com/
Blog www.juzno.com/
# #IAMGenerationImage
Without peace, all other dreams vanish and are reduced to ashes.
© Luís Campillo 2015
Model Vanesa García. www.facebook.com/vanesagarcia.artistavisual
MUA Sergio Rada-Castilla. www.facebook.com/sergioradacastilla/info?tab=page_info
Estilist by Pilar Curiel. Special thanks to Jorge Abril.
luiscampillo.tumblr.com/
instagram.com/luiscampillo/
© Luís Campillo 2015
Model Sandra Rosell. es.litmind.com/284442
MUA-Hairdresser Sandra Rosell. www.facebook.com/makeups.rosell
© Luís Campillo 2015
Model Vanesa García. www.facebook.com/vanesagarcia.artistavisual
© Luis Campillo 2015
www.facebook.com/thewhiteroomphoto/
www.instagram.com/luiscampillo/
Model Regina PLH
Hairdresser Artist Aitor Rubio by Urban Style
www.facebook.com/Urban-Style-1400046376952737/?fref=ts
MUA Sergio Rada-Castilla. www.facebook.com/sergioradacastilla/info?tab=page_info
Artistic Management Pilar Curiel.
© Luis Campillo 2016
Model Ane Sehnsucht.
Outfit by SEHNSUCHT www.anesehnsucht.com
Assistant Jose Antonio Vica
Shopperhal, Amsterdam Zuidoost
Pen en waterverf op 29,7x42cm papier.
Voor mijn 'Keti Koti Project'. Met dit, langer lopende project, wil ik aandacht geven aan en vragen voor de herdenking van het afschaffen van de slavernij door Nederland in 1873. Het liefst zou ik zien dat er een nationale feestdag voor zou komen, waarbij we met elkaar kunnen terugkijken én vooruitkijken, helen en vieren.
Ik werk in de maand juni 2021, voorafgaand aan Keti Koti 2021 (1 juli), in CBK Zuidoost, enkele dagdelen per week, aan een serie portretten van mensen die ik een jaar geleden tijdens Keti Koti heb aangesproken en mocht fotograferen. Die foto's ben ik nu aan het uitwerken, op papier, met pen en waterverf. Tegelijkertijd verzamel ik teksten van mensen, waarin ze beschrijven hoe ze Keti Koti ervaren / ervaren hebben, hier in Nederland of in Suriname.
#ketikotiproject #alasmatori #eindeslavernij #1juli #herdenkingslavernij #maakvanketikotieennationalefeestdag #helenenvieren #terukijkenvooruitkijken #nationaleherdenking #oneracehumanrace #amsterdamsemensen #healingtogether #lookingbacklookingforward #beautifulpeople #peopleofamsterdam #lovetodraw #drawinglove #penandwatercolor #drawing #tekening #weareonepeople #maartjejaquet #art #visualartist #ieder1 #amsterdamsemensen #nederlandsuriname #surinamenederland #ketikotiportret #ketikotiportrait
Hasselblad 503CWD + Distagon 40mm + CFV-50
© Luís Campillo 2015
Model Ane Sehnsucht. www.anesehnsucht.com
MUA-Hairdresser Sandra Rosell. www.facebook.com/makeups.rosell
instagram.com/luiscampillo
#freestyle #abstractart #digitalart #modernart #design #contemporaryart #COLOR #accessories #unicità #creatività #raffreefly_vendita_opere #design #interiodesign #visualart #visualdesign #visualeffects #visualartist #wallpaper #cartadaparatiartistica #cartedaparati #arteinformado #thotaclub #eartesia #ecletticamente_arte #style #styleart #legadegliartisti #fantasyart
© Luís Campillo 2015
Model Vanesa García. www.facebook.com/vanesagarcia.artistavisual
luiscampillo.tumblr.com/
instagram.com/luiscampillo/
Hasselblad 503CWD + Distagon 40mm + CFV-50.
© Luís Campillo 2015
Model Vanesa García. www.facebook.com/vanesagarcia.artistavisual
luiscampillo.tumblr.com/
instagram.com/luiscampillo/
© Luís Campillo 2015
Model Sandra Rosell. es.litmind.com/284442
MUA-Hairdresser Sandra Rosell. www.facebook.com/makeups.rosell
instagram.com/luiscampillo
© Luís Campillo 2015
Model Sofía Bajo. www.facebook.com/sofiabajoactriz
luiscampillo.tumblr.com/
instagram.com/luiscampillo/
© Luis Campillo 2015
Model Paula Velasco es.litmind.com/259371
Model: Alba Hervás
All photos by Marta Nørgaard ©
www.facebook.com/martanorgaardphotography - www.instagram.com/martanorgaard
© Luís Campillo 2015
Model Vanesa García. www.facebook.com/vanesagarcia.artistavisual
instagram.com/luiscampillo/
© Luis Campillo 2016
Model Ane Sehnsucht.
Outfit by SEHNSUCHT www.anesehnsucht.com
Assistant Jose Antonio Vica
© Luis Campillo 2015
www.facebook.com/thewhiteroomphoto/
www.instagram.com/luiscampillo/
Model Regina PLH
Hairdresser Artist Aitor Rubio by Urban Style
www.facebook.com/Urban-Style-1400046376952737/?fref=ts
MUA Sergio Rada-Castilla. www.facebook.com/sergioradacastilla/info?tab=page_info
Artistic Management Pilar Curiel.
Frida Kahlo's paintings are frequently approached through the narratives that surround them. Illness, love, politics, “mexicanity” and biography have become the dominant interpretative framework through which her work is encountered, often preceding the paintings themselves. Such readings risk collapsing the distinction between artist and artwork, reducing a highly sophisticated pictorial practice to visual evidence of a life already narrated. To examine Kahlo's work art historically instead requires attention to the formal decisions through which meaning is constructed.
Kahlo's pictorial language is characterised by extraordinary compositional discipline. Her paintings are built through frontal organisation, carefully calibrated symmetry and an economy of spatial depth that privileges the image as an object rather than as an illusionistic window. Figures, animals, botanical forms and anatomical details are arranged within highly stable structures where every element occupies a precise visual function. Rather than relying on expressive brushwork, Kahlo establishes intensity through the relationships between forms, colour and scale. The surface remains remarkably controlled, allowing symbolic complexity to emerge from composition rather than painterly gesture.
Equally significant is her negotiation between multiple visual traditions. Kahlo does not simply appropriate Mexican popular painting, Catholic devotional imagery, scientific illustration or European portraiture; she places these traditions into dialogue, producing a pictorial language that resists straightforward stylistic categorisation. Her paintings move between naturalistic observation and symbolic construction without allowing either mode to dominate. This instability is not evidence of psychological ambiguity but of visual sophistication, demanding that the viewer negotiate several representational systems simultaneously.
The repetition of self-portraiture should likewise be understood less as autobiography than as a sustained formal investigation. The face becomes a stable compositional anchor through which variations in costume, iconography, scale and spatial organisation can be explored. Identity functions here not primarily as confession but as pictorial structure. The repeated self-image allows Kahlo to examine the relationship between body, object, landscape and symbol within a consistently recognisable visual framework.
From this perspective, Kahlo's significance lies not only in the subjects she painted but in the precision with which she constructed images that remain resistant to singular interpretation. Her paintings invite symbolic reading while simultaneously frustrating definitive iconographic closure. It is precisely this balance between visual clarity and interpretative openness that has enabled the works to circulate across multiple ideological and cultural contexts, becoming available for successive reinterpretations without exhausting their formal complexity.
To return to the paintings themselves is therefore not to reject biography but to suspend its explanatory privilege. Kahlo's achievement resides in the construction of a pictorial language whose formal coherence has too often been eclipsed by the narratives attached to her image. An art-historical reading begins not with the myth of Frida Kahlo, but with the material intelligence of the paintings.
The canonization of "Frida" is not only built on biography; it is enabled by an exceptionally consistent visual grammar. As William S,”. Burroughs points out in “Electronic Revolution” - a cut-up is needed.
ink, watercolor on paper
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