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Les Tigres du Nord
120cm x 120cm
Acrylic, mix on canvas. Silver and gold details.
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Oosterdok | Prins Hendrikkade 18/01/2014 22h27
The last photo of the 2013-2014 edition of the Amsterdam Light Festival is taken from the bridge between Oosterdokseiland and Nemo which obviously is called J.J. van der Veldebrug. From here the view towards the Prins Hendrikkade, Kikkerbilsluis and the projections "One Moment Please" on De Appel is fabulous.
Amsterdam Light Festival 2013-2014
Amsterdam Light Festival is a winter light festival for all ages. For 50 days, the historical center of Amsterdam will present a unique décor for this international light and water festival.
Corresponding to the theme, ‘Building with Light’, 30 light sculptures and projections by international artists have been selected for this second edition. The boat tour, Water Colors, will exhibit artworks along, the Amsterdam canals and the Amstel River, while the walking route, Illuminade, will take place in the center of the city.
Amsterdam Light Festival will take place from Friday 6 December 2013 to Sunday 19 January 2014.
www.amsterdamlightfestival.com
2000 Light Years from Home
Artist: Gerald van der Kaap
Location: De Appel Arts Centre
For the Amsterdam Light Festival, Gerald van der Kaap creates a new work on the facade of the Appel arts centre. The light projection '2000 Light Years from Home' will show his versatility as an artist in an unexpected way. It will be a remix of some of the patterns he designed for his veejay performances over the years: varying combinations of rectangles, moving test-cards creating irregular grid-like patters. In between there will be subliminal messages.
Gerald van der Kaap (Enschede, The Netherlands, 1959) is a Dutch visual artist who calls himself a non-genre artist. He takes photographs, creates computer images, directed television programs, published magazines, composes music, experiments with new media and does interventions in the public space.
Website: Diane Marie DeMarco Photographs and Paintings
Photographs on Instagram, Facebook, Pinterest, and LinkedIn (Diane Marie DeMarco)
Camera: Nikon
© Luís Campillo 2015
Model Vanesa García. www.facebook.com/vanesagarcia.artistavisual
Allô bonjour
buenas mornings to you all!
My name is Nantli Papalotl and it means Mother Butterfly in Nahuatl, one of the 68 indigenous languages spoken in Mexico lindo y querido.
I was born yesterday night and it feels spectacular being alive, I never wanna die.
With excitement I'm waiting for the birth of one of my many companions,
she's almost here,
just wait and see!
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© Luís Campillo 2015
Model Vanesa García. www.facebook.com/vanesagarcia.artistavisual
instagram.com/luiscampillo/
Hasselblad 503CWD + Planar 80mm + CFV-50.
© Luís Campillo 2015
Model Vanesa García. www.facebook.com/vanesagarcia.artistavisual
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instagram.com/luiscampillo/
© Luís Campillo 2015
Model Vanesa García. www.facebook.com/vanesagarcia.artistavisual
luiscampillo.tumblr.com/
instagram.com/luiscampillo/
Andy Warhol Inspired Self Portrait .
Photography & Processing by Florbela : FFX © Florbela's Fotographix
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Facebook www.facebook.com/pages/FFX-Florbelas-Fotographix-/6386064421
Artwork number 48 by György Németh (b. 1959) from the Szigetingy Collection of the Szingy Gallery in Budapest
A whole family sells fruits and vegetables in the amazon river, they come quickly and board the ships with their baskets, after a few minutes they are back in their boat and dissapear into the jungle.
I made this portrait of David during his exhibition run at M2 gallery in September this year. The show was oil paintings from Italy, predominantly Venice, and Rome; though there were also some landscapes from Brisbane, the River from the hillsides of Hamilton. I loved this show and having spent some time living in Hamilton as an art student in the 1980s; absolutely loved these artworks which were like a vivid memory sprung to life! My partner and I also manged to catch up with David in Vencie where he has been visiting and painting since the.. 1980s! You can check out his work via the link below.
© Luís Campillo 2015
Model Claudia San Román. es.litmind.com/280994
MUAH Inés Castaño. www.facebook.com/icastanoscarrerasmakeup/
Assistant Lighting and Stage Zaira Cabarga.
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Model: Suwon Lee
For 'Nuevo País de las Artes'.
Link: banesco.blob.core.windows.net/banesco-prod-2015/wp-conten...
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Hasselblad 503CWD + Distagon 40mm + CFV-50
© Luís Campillo 2015
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Yeah...another boring sunset image.
Just realized, this is my 300th image...guess it's not really worth mentioning. But the zeroes maketh the difference.
He walked in almost unknown.
Some musicians climb mountains. Others become weather. Carlos Santana arrived like heat rising off asphalt after a summer storm, carrying a guitar that didn't seem interested in showing off so much as translating invisible currents into sound. He didn't play notes as stepping stones toward a solo; he treated them like birds circling the same patch of sky until something ancient remembered its own name.
Back in 1969, hardly anyone outside San Francisco knew who he was. Woodstock wasn't supposed to belong to an unknown band playing Afro-Latin rhythms in front of a crowd waiting for rock stars. But history has a habit of ignoring the guest list. A few minutes on that stage were enough to turn anonymity into legend. Not because fame descended from the heavens, but because sometimes an audience hears a language it didn't know it had been waiting for.
The first record, “Santana”, didn't asked you to redraw the map. Blues, Latin percussion, jazz, rock—those labels fell apart the moment the congas and Hammond organ locked into the same heartbeat. It sounded less like a debut than like a city discovering its own pulse. There was sweat in it, but also ceremony; the street corner and the sanctuary sharing the same address.
Then came “Abraxas”, and instead of repeating the formula, the band widened the horizon. The album carried mystery without pretending to be mysterious. It could move from tenderness to ecstatic celebration without changing its accent. "Black Magic Woman" became so completely absorbed into Santana's universe that many listeners forgot it had another life before him. "Oye Como Va" transformed a classic into something that felt simultaneously ancestral and futuristic, as if rhythm itself had found a new passport. But my personal favorite is the last track “El Nicoya”, I have always had an audio-crush on Santana’s drummer Michael Shrieve, oh me oh my such a master.
People often mistake spirituality for decoration. Add incense, say "cosmic" a few times, and suddenly everything sounds profound. But music has no obligation to wear robes. Santana's best work isn't mystical because it talks about transcendence; it's mystical because it makes separation disappear. Guitar and percussion stop competing. Listen really well, close your eyes and open your ears. Melody stops standing above rhythm. The solo ceases to be an individual climbing toward applause and becomes another voice inside a larger conversation.
The machinery of popular culture prefers simple narratives. The guitar hero. The virtuoso. The survivor. The brand. Those stories are easy to package, easier still to monetize. But they flatten the thing that mattered most. Santana's enduring achievement wasn't speed, volume, or technical brilliance—though all were there when needed. It was generosity. The willingness to let traditions meet without asking either one to surrender its accent.
Listen closely and you'll notice something else. The guitar rarely sounds impatient. Even at its fiercest, it leaves room for air, for percussion to speak, for silence to complete the sentence. That's rarer than virtuosity. Anyone can fill space. Very few know how to illuminate it.
Maybe that's why those early records refuse to age. Not because they belong to nostalgia, but because they were never chasing fashion in the first place. Trends expire. A groove that feels like the earth turning beneath your feet does not. Long after genres have been reorganized and playlists have replaced record stores, those albums still arrive carrying the same message without saying a word: sometimes the shortest distance between people isn't language, ideology, or even melody. Sometimes it's rhythm. And somewhere inside that rhythm, a guitar still sounds as though it's remembering the first time fire met wood.
ink, watercolor on paper
contact ibarraloana@gmail.com
© Luís Campillo 2015
Model Vanesa García. www.facebook.com/vanesagarcia.artistavisual
© Luis Campillo 2015
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.
Hasselblad 500CM + Planar 80mm + Kodak Portra 800.
© Luís Campillo 2015
Model Sandra Rosell. es.litmind.com/284442
MUA-Hairdresser Sandra Rosell. www.facebook.com/makeups.rosell