Bad Bad Not Good / Malo malo no bueno. Camila Oliveira Fairclough

Press release/Dossier

 
 
Bad Bad Not Good / Malo malo no bueno. Camila Oliveira Fairclough

 
 
Heart, 2020. Acrylic and spray on canvas. 50 cm Ø
Heart, 2020. Acrylic and spray on canvas. 50 cm Ø
Bad Bad Not good / Malo malo no bueno, 2020. Room 3. General view
Bad, 2018. Acrylic and spray on canvas. 162 x 97 cm
Bad Bad Not good / Malo malo no bueno, 2020. Room 3. General view
Bad Bad Not good / Malo malo no bueno, 2020. Room 3. General view
Bad Bad Not good / Malo malo no bueno, 2020. Room 3. General view
OhOhOh, 2018. Acrylic on canvas. 100 x 130 cm
Bad Bad Not good / Malo malo no bueno, 2020. Room 3. General view
Joyful / Green, 2019. Acrylic on canvas. 70 x 80 cm
Too Late, 2019. Acrylic and spray on canvas. 50 x 100 cm
Bad Bad Not good / Malo malo no bueno, 2020. Room 4. General view
XOXO, 2013. Acrylic on canvas. 89 x 130 cm
Bad Bad Not good / Malo malo no bueno, 2020. Room 4. General view
Bad Bad Not good / Malo malo no bueno, 2020. Room 4. General view
Reflection, 2017. Acrylic on canvas. 40 x 112 cm
Bad Bad Not good / Malo malo no bueno, 2020. Room 4. General view
BlackBlackBlack, 2019. Acrylic on canvas. 162 x 97 cm


 
 

Press release

 
 

Luis Adelantado is pleased to present Bad Bad Not Good / Malo malo no bueno a solo show by the Brazilian artist Camila Oliveira Fairclough, where once again she reformulates some key elements of her work, linking the frictions between abstraction and figuration, gesture and language.
Her paintings consist of monochromatic fields that are literally traversed by words, so that the tension between figure and background, and the idea of abstract space, enhance the poetic qualities of her work even more. Fairclough’s painting is human, which is evident through the lines and fields of her habitually imperfect colours, where the manual gesture breaks through the figurative logic, introducing chaos beyond the visible order.
Likewise, there is a link between writing and painting, where what is depicted is confirmed as a comment on a pictorial gesture in which Fairclough becomes the line she writes, demonstrating the performative of the process behind the act of painting.
Finally, the textuality of her paintings always questions the strange relationship of antinomy between image and text, whose multiple readings denote the peculiar way we organise a discourse within a complex, heterogeneous media such as painting, and where the grammar of images can either exercise its formal or semantic domain in the same way it does in text. After all, writing and painting share a lot of similarities.