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Artist Camilla Fallon

Updated: May 25

Camilla Fallon’s paintings explore the interplay between light, form and my body. Working with my body this way I can or create unpredictable shapes and spaces. It allows for a different kind of exploration into the interplay between light, forms and emotive content.

Born in Baltimore, Maryland, Camilla Fallon graduated from the Maryland Institute College of Art, attended the Skowhegan School and is an M.F.A.graduate of the Yale University School of Art.

Last year, Camilla had solo shows at La Guardia Community College and the Gilbert Gallery at Miss Porter’s School in Farmington, Ct. She has also shown at The Painting Center, Equity Gallery, The National ArtsClub, and the Michael David Gallery in Bushwick. Other venues include a solo show at the University of South Carolina Aiken at the Etheridge Gallery in 2014 Well represented in both private and corporate she is included in collections including Yale University and Capital Crossing.

Early in her career she received several artist residency and fellowships notably from Yaddo and MacDowell. Camilla’ s writing has appeared in Painters on Paintings, Hyperallergic and New Observations magazine.

A long time resident of NYC, Camilla recently relocated to Sharon Connecticut where she lives and works.

"My paintings explore the interplay between light, form, and the female body through light situations that play on the nude or flesh and hand self self portraits in various ways. My self portraits challenge society's false constructs about age. Not ignoring but not focused on the sexual implications, the paintings delve into the deeper realm of embodiment and self-exploration. The strategic use of light patches becomes a crucial element in deciphering the demonstrated psychological state portrayed. Light, in its capacity to both illuminate and obfuscate, becomes an agent of revelation. Through obscured identities, closely cropped anatomy, fragmented shadows, and blinding light, the paintings provoke contemplation of the multifaceted nature of identity and the enigmatic relationship between light and self. This correlation assumes paramount importance, as I deliberately reduce extraneous elements to accentuate the subject's psychological impact. The work is explores the female figure as a vessel of expression and the profound interdependence between light and design principles. The paintings beckon viewers to reflect on the multifaceted nature of "the gaze" and the transformative potential of light. Last year I began painting hands after working with the full figure. I was intrigued by the change in scale as well as a new found sensuality because they are expressive and fleshy. Hands reflect human emotion and hand gestures themselves can express an unlimited variety. A finger or knuckle may suggest a leg or arm and can make unpredictable shapes and spaces. It allows me a different kind of exploration into the interplay between light and forms. Light serves as an element creating emotional tone. We use hands to express emotional states like comfort as well as fight and harm. Through obscured identity, closely cropped hands and fragmented shadows, the paintings provoke a contemplation of the enigma of gesture."

Tell us a little about yourself (where you are from) and your background in the arts.

I grew up in Baltimore Md in a vibrant but provincial community and was fortunate to get a scholarship to the Maryland Institute College of Art. When I was a junior I won a summer scholarship to Skowhegan which opened up my eyes. After several residencies I found my self in the MFA program at Yale. That was tough but it helped form me through rigor and learning how to look and how to find avenues to explore in Painting as a discipline.

What kind of work are you currently making?

I'm making representational figurative paintings of hands and other parts of the body. I'm playing with light and scale.

What is a day like in the studio for you?

I listen to music that I don't have to pay attention to, the classical station. If I like the music too much I get distracted. Other times I don't listen to anything, podcasts are out. Sometimes I spend an entire day and early evening but much of the time if I'm already into a painting I'll start during the afternoon so I'm not interrupted. My studio is downstairs in the house, I have about 550 sq feet with storage in the garage. I'm so happy to have a permanent place to work.In my years in nyc it could be a struggle to hang on to a studio.

What are you looking at right now and/or reading?

I was in NYC quite a bit in April and saw a mountain of amazing work in Chelsea and Tribeca. I like painting that is about painting, maybe not too illustration like or conceptual.

I like to see paint and how inventive certain peers are with it. I saw John Bradford at Anna Zorina, Maria Calandra at Frederick and Freiser, Clintel Steed at Equity Gallery, on Broome St. I saw a lot of shows. They made an impression> I'm still processing it.

I read a lot of fiction as well as history, most recently a novel by Olga Tocarczuk, Drive YOur Plow Over the Bones of the Dead.

Where can we find more of your work? (ex. website/insta/gallery/upcoming shows)

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