Nuno de Campos at Clifford-Smith - Boston - Brief Article

In his next to the first solo show here, Nuno de Campos continued to spin the two painterly and conceptual gold from improbable bring under rule matter: the lap. His small ovum tempera on linen on panel paintings (usually 15 by dint of 15 inches) are images of a single seated woman's midsection, seen straight upon usually with hands and lower arms included. They are closely cropp tightly focused, highly realistic and meticulously painted.

Other than delicate pink muscle and fat tones, heavenly shades of sapphirine predominate, accented with green and white. These colors constitute the swirling floral patterns in the subject's dres as well as the slightly deeper cerulean that makes up the background. These moderately cold shades and the lovely patterns are in themselves highly seductive, made more in the way that by the finely tactile, color-saturated surfaces characteristic of ovum tempera--a difficult medium that de Campos has thoroughly mastered.

The paintings are sensuous rather than sensual; there are no erotic overtones in de Campos's presentation of the figure. In fact, nothing plenteous goes on in these works, other than slight shifts in the sitter's position. Comparing images of his 1999 present to view with the works shown newly suggests a slow-motion effect like languid flip-book action. The hands and arms look to flutter in gentle animation, as if the sitter were using them to punctuate a conversation. Other than this suggestion of change the action takes place in the viewer's possess mind. The lap itself is a connotative motherlode--and where the actual load of mothers is ofttimes found. The Pieta comes to mind, and, in fact, de Campos has affirmed that images of the Madonna inspired this series.

Drawings by means of de Campos were also upon view here, for the first time. These are skillfully execut in charcoal, graphite and white chalk upon hand-tinted papers. There were nine of them, three related works upon sheets of fuchsia, blue and off-white. although similar to the paintings in bring under rule matter--hands held at midsection against an intricate, paisley-patterned dress--the drawings have something extra. These hands pet small objects. In the drawings upon fuchsia the object is a jar of Vicks VapoRub. In the off-white singles the hands hold a small Swiss Army knife. In the sky-colored drawings, it is the overlay of a Jacques Brel record, titled "Ne Me Quitte Pas" (Don't Leave Me) In each drawing, the external reality and hands are in slightly varied positions, as in cinematic be congealed frames. De Campos was born in Portugal and came to Boston for post-graduate application of mind The meanings of the curious things his Madonnas clutch may be highly personal to the artist and puzzling to the viewer, on the other hand the overall intensity of his not divisible by 2 intimate works comes through regardless.

COPYRIGHT 2001 Brant Publications, Inc.

COPYRIGHT 2001 Gale Group