francesca de campora | artist, illustrator | Manchester | Art Jobs
Country: United Kingdom
City: Manchester
Industry: Arts & Culture
Professional Title: artist, illustrator
Specialties: + 10 years Drawing, +10 years Painting, art teaching

- About -

My works have always been representative of the moments of my life as I was living them. 
During my years at university my style was very illustrative and symbolic of the childish clarity that young people have, when everything is black and white. I only produced ink drawings, and I wouldn't even use any other color aside from black. They were very happy drawings, ironic and passionate as I was. Today they communicate the joy of that time to me, together with its innocence. After moving to England I started suffering from depression, as I didn't feel adequate to the “English world”, and my art changed drastically. I couldn't use ink anymore, and I didn't feel that my art would be understood by anyone where I was currently living. And so I started painting the sea. The sea was a symbolic connection to my home town in Naples and to my inner world. But often those paintings were sad, with lands that were empty deserts and the sea a mysterious presence. Looking at them now, I can see the hope emerging from the deep sea sustaining me from underneath and from the fishes, big and small, and even whales, who accompany and seem to aid the humans in the gigantic sea of my inner life. It has only been in the past year, since my life changed for the better, and I have started recognising the importance of relationships around me, that my art changed again. I began using all the colours that I had never used before, drawing people I knew and people I didn't. All of a sudden the human form was at the centre of my attention, and so, as I was giving more importance to the people around me and slowly leaving behind my sadness and inadequacy feelings, my art took an unexpected turn. After producing a series of portraits with oil pastels I decided to digitally select only one small detail of each of them. This made them seem more abstract and, to me, more human because they can't be associated to one person but to anyone. The colours I choose don't reveal the ethnicity and sometimes not even the gender of the person behind the portrait, and in this way I can represent only the essence and the emotions of those people. All we are left with is details that are common to every human being: eyes, noses, mouths.

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