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Marianne Friis Gallery

Bredgade 22, 1260 København K

Onsdag - fredag 11-17, lørdag 12-16


Ruth Campau

01.03.2014 - 15.04.2014

Ruth Campau: Vertical (Installation view), 2014.

Ruth Campau: Vertical (Installation view), 2014.

Ruth Campau: Vertical (Installation view), 2014.

Ruth Campau: Vertical (Installation view), 2014.

Ruth Campau: Vertical (Installation view), 2014.

Ruth Campau: Vertical (Installation view), 2014.


Ruth Campau is probably best known for her larger installation works and in situ projects as for instance the work Naphthol Red Light 419, which was shown in 2001 at Charlottenborg in Copenhagen, You Too Can Be a Superhero from 2010, shown at KUNSTEN in Ålborg, Twinkler, 2008, which was included in the collection of the museum Arken, and for her collaboration with architects on such projects as Nordlyset from 2004-2006, situated on Amerikas Plads in Copenhagen, which was also nominated for the prestigious prize: The Mies van der Rohe Prize.

From the 1st of September until the 31st of December 2013, Campau joined the ISCP programme in New York (International Studio and Curatorial Program). During her stay she created new pieces using new materials, and these works will be exhibited on the exhibition Vertical at Marianne Friis Gallery.

The first reference to Campau's painting is the abstract and formalistic painting. But Campau works in a wider field where colours play a central part in the construction of the works. The vertical lines, which are so characteristic of the artist, are broken by the different use of materials or by the casually spilled drops of paint on the work. Campau herself calls her method "handheld" - she strives for the perfect brushstroke but the unpredictable/randomly and imperfect is what makes the painting differ from a painting made with masking tape for instance. It is in the movement Campau turns over her observer. That movement she passes onto the work and which the observer must experience on her/his own body.

"My work start with the idea that I, by using a concentrated brush stroke, can communicate human presence by transferring it onto a surface. That I, by transforming a fluid liquid to a solid one can perpetuate the movement of the body through a single brush stroke. The thought of making an "endless painting" is also fascinating. The idea that what I show is merely a smaller piece of a larger painting and as such is just a representative of a human presence. That is why the issues that prevails during the creation/execution are important, and the body, movement and time become essential elements to my work."

In the exhibition Vertical Campau shows new collages made by new materials found in New York City. Her expression seems more loose and lighter, and as something quite new to her practice she shows 4 inkjet prints. The vertical lines are still present but they are printed on a silver-grey background which makes the surface shine and play with the light in new ways.

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