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Carbon Series Nº 3; 'Ordem e Progresso' Drawing

Finn Campbell-Notman

Spain

Drawing, Charcoal on Paper

Size: 110.2 W x 52.4 H x 0.2 D in

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About The Artwork

Carbon series Nº3: 'Ordem y Progresso' Ordem y Progresso is the latin motto on the national flag of Brazil. This piece depicts both the 'Casa das Canoas' ( the private home of Oscar Niemeyer, completed in 1953) and the Gavea Tourist Hotel aka 'Esqueleto do Gavea' completed between 1953-1955. Within 200m of each other and both constructed during the Kubitschek era of rapid modernization promoted with the slogan 'fifty years in five'. The projects represented both literally and metaphorically the aspirations, hopes and ultimately represent the failures of this programme. Situated within La Floresta - a remnant of the Mata Atlantica rain forest of coastal Brazil in Rio, together they encapsulate the exuberance and optimism, the impossible rational idealism and the sensuality of the period. Together they loom, hidden within the forest above Rio, exemplars of the twin poles of mid twentieth century international style architecture: the sensual curvilinear 'female' forms of Niemeyer and a rigid Bauhaus formalism and thus they represent opposing elements of the character of Brasil; somewhere between the political and moralistic diktat and a social and cultural attitude of laissez-faire; here is a picture of Brasil as it is and from whence it has grown; the teeming forest: it is at once a depiction of the country's zenith and it's nadir, its hopes, their instant ruin and immediate regrowth.

Details & Dimensions

Drawing:Charcoal on Paper

Original:One-of-a-kind Artwork

Size:110.2 W x 52.4 H x 0.2 D in

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Finn Campbell-Notman M.A. R.C.A British, London 1970, Finn grew up in rural England, principally Norfolk and Somerset. Over the years he has lived and worked in Cornwall, London, UK, San Francisco, USA, Brussels, Belgium and Andalusia and Barcelona, Spain. • An artist is essentially a lens through which the universe is refracted. Each lens however is unique. The ongoing aim is to make my particular lens as clear, focused, personal and distinctive as it can be. For me this means being continuously vigilant to life’s mutability, to have an open and receptive fragility in regard to this flux and from a position of attentive awareness and inquisitiveness attempt to communicate my experience of it through the work, thereby to arrive at some small amount of reciprocal wisdom about both myself and the world. The artwork as such is the result of that which has been projected by the universe through me and thus the imagery is an attempt to create both photographs - in the sense that my work focuses this ‘light’, and to create images in the sense that they are an expression of the distillation that happens within, sometimes over the course of extended periods of time. It is to be an instrument to record and express the tension and play between intra-mission and extra-mission, the meeting of the brush or pencil being the focal point. The artworks are thus microcosms, simultaneously process and practice. When I achieve this there is a stillness and poise, a subtle sense of the uncanny or perhaps, in Han’s Belting’s terms; the ‘aura’; a kind of calm vivacity to my work. My principal wish is always to improve my ability to communicate more eloquently through my work and for the work to speak with honesty and clarity. I think we respond to an artwork in a variety of ways but we especially respond to those that 'feel true' irrespective of whether they are representational or not. That response to 'trueness' or perhaps ’rightness’ I think derives from the tangibility felt by the viewer of the experience shown i.e what has been distilled within the work is transmitted and apparent to the receiver. Art is to me thus also an ethical/moral activity; the personal, socio-cultural, political and natural are inseparable and I try to reconcile all this within and through my work.

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