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© 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
contact ibarraloana@gmail.com
Una tarde de finales de Julio de 2020 en un intento de fotografiar el Cometa C/2020 F3 Neowise me instalé en un punto alto de Valenti.
Con el evento astronómico no tuve mucha suerte pero apuntando hacia el Norte pude capturar esta imagen en un momento preciso donde la iluminación juega un rol importante como lo es la hora azul.
Ayudado por la compresión que produce un un teleobjetivo a 500 mm. se pueden comprimir los planos y superponer los colores.
Copyright ©Chechi Peinado All Rights Reserved.
Adobe Lightroom Classic
Adobe Photoshop 2025
Luminar Neo
© Luís Campillo 2015
Model Vanesa García. www.facebook.com/vanesagarcia.artistavisual
luiscampillo.tumblr.com/
instagram.com/luiscampillo/
Keanu, Hoekenrodeplein, Amsterdam.
Pen en waterverf op papier, 29,7x42cm. 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.
#ketikoti #eindeslavernij #1juli #herdenkingslavernij #maakvanketikotieennationalefeestdag #helenenvieren #terukijkenvooruitkijken #nationaleherdenking #oneracehumanrace #amsterdamsemensen #healingtogether #lookingbacklookingforward #beautifulpeople #peopleofamsterdam #lovetodraw #drawinglove #penandwatercolor #drawing #tekening #weareonepeople #maartjejaquet #art #visualartist #ieder1 #amsterdamsemensen #blm #blacklivesmatter #nederlandsuriname #surinamenederland #ketikotiportret #ketikotiportrait
© Luís Campillo 2015
Model Vanesa García. www.facebook.com/vanesagarcia.artistavisual.
luiscampillo.tumblr.com/
instagram.com/luiscampillo/
Adam: Why are you drinking bottled water?
Dude: Because I hate the taste of tap water. Plus I want to limit my arsenic and lead intake. Not good for you, y'know.
Adam: Dude, the stuff is mixed with dihydrogen monoxide.
Dude: Really? Hey Waiter - give me something that can dilute dihydrogen monoxide.
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Hope your day is going well. - R
Gallery www.justanobserver.com/
Blog www.juzno.com/
# #IAMGenerationImage
© Luís Campillo 2015
Model Vanesa García. www.facebook.com/vanesagarcia.artistavisual
MUAH Sergio Rada-Castilla. www.facebook.com/sergioradacastilla/info?tab=page_info
Lighting assistant Jose Antonio Vica.
© Luís Campillo 2015
Model Vanesa García. www.facebook.com/vanesagarcia.artistavisual
© Luis Campillo 2015
Model Xrystina San Millán.
Estilist Jangali Handicraft by Natalia Pérez.
instagram.com/luiscampillo
© Luis Campillo 2015
Model Paula Velasco es.litmind.com/259371
Art and words © 2014 Rob Castro
Rob: Do you think that our culture has removed Man's rightful place in the environment?
Juzno: Oh, I think people have been doing that for a long time now. Lately, we've become smarter in how we implement things: We pretend that Man is irrelevant. In doing so, we get rid of our guilt.
Rob: Do you see that in the current state of the visual art?
Juzno: Oh yea. Look around you. Man has been relegated to mere forms, objects and abstractions. Look at Fashion Photography. Have you lately seen how those fashion models look like? They look so fake. There is not a wrinkle or stray hair on their bodies. There is no one on Earth who really looks like that. A real human being is not supposed to like that. I don't think the models represent Man at all. When you look at Street Photography, man is either smaller than the entire world - or just part of the facade of the urban structure. Years ago, they removed man in nature. Do you ever wonder why most landscape photos do not include any human element on them? Because to them Man is the root cause of Nature's ruin. Man is the problem - so let's get rid of him.
Gallery www.justanobserver.com/
Blog www.juzno.com/
First attempt at an iris shot. Noisy and not all that sharp. I'm finding out that reverse macro can only go so far in terms of certain factors. Definitely ways to go before I get one looking like one of these.
But hey, I'm still taking that pat on my back right about now. :-)
This image is one of a set! Find them here, there or somewhere.
© Luís Campillo 2015
Model Vanesa García. www.facebook.com/vanesagarcia.artistavisual.
MUA Sergio Rada-Castilla. www.facebook.com/sergioradacastilla/info?tab=page_info
Special thanks to Jose Antonio Vica.
luiscampillo.tumblr.com/
instagram.com/luiscampillo/
© Luis Campillo 2015
Model Xrystina San Millán-Birdy.
Estilist by Pilar Curiel.
MUAH Sergio Rada-Castilla. www.facebook.com/sergioradacastilla/timeline
Atrezzo Jorge Abril by Te Quiero Cuero.
Special thanks to Iris Polanco & Jose Antonio Vica.
© Luís Campillo 2015
Model Ane Sehnsucht. www.anesehnsucht.com
MUA-Hairdresser Sandra Rosell. www.facebook.com/makeups.rosell
instagram.com/luiscampillo
© Luis Campillo 2016
Model Ane Sehnsucht and me.
Outfit by SEHNSUCHT www.anesehnsucht.com
© Luis Campillo 2016
Model Ane Sehnsucht.
Outfit by SEHNSUCHT www.anesehnsucht.com
Assistant Jose Antonio Vica
© Luis Campillo 2016
Model Ane Sehnsucht.
Outfit by SEHNSUCHT www.anesehnsucht.com
Assistant Jose Antonio Vica