2011 All about Drawing


Text All about Drawing, 100 Dutch Artist

 Arno Kramer



Drawing, as a pure art form, is almost invariably based on a linear set-up.

In whatever way a potential background is ‘shown’- in black, grey or in colour, by means of pastel, pencil or charcoal – the design

is usually built up in fine lines all the same.

A number of drawings by A. van Campenhout are entitled ‘walls’ and, if you wish, you can see

reminiscences of trances and wall patterns in them. However, the approach is anything but a copy of reality. The question may arise

as to whether you can see a relation with reality in them in the first place. indeed, the compositions seem to originate from coincidental

motifs and structures that can issue from inventiveness and an intuitive handling of charcoal. It looks as if A. van Campenhout

is seeking the challenge of a predetermined coincidence on paper.

The maker interferes with the relative disquiet and grotesqueness in the background by adding mathematical rectangles. For a while,

the ratio takes over and concludes that a picture is becoming more exciting and better when a certain opposition is sought, which will result in some structure in the compositions.

But however ‘laboured’ the addition of the rectangles may be, they are exclusively meant to facilitate the search for the autonomous image.

In terms of their execution, the drawing betray that tentative and very sensitive element in the handwriting.

The ‘scratches’ in the picture gives the work great vitality. The structures caused by the rectangles has been completely abandoned in

some series, and these drawings seem to based on organic, vegetative forms. They will literally grow under the hands of their maker

until they have reached that degree of intensity that defines the image desired.

It is drawing pur sang.

Sensitive, somewhat groping, but strong and personal at the end of the day.