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  •  Installation Shots From: Pangaea: New Art From Africa And Latin America
    Pangaea: New Art From Africa And Latin America
  •  Installation Shots From: Pangaea: New Art From Africa And Latin America
    Pangaea: New Art From Africa And Latin America
  •  Installation Shots From: Pangaea: New Art From Africa And Latin America
    Pangaea: New Art From Africa And Latin America
  •  Installation Shots From: Pangaea: New Art From Africa And Latin America
    Pangaea: New Art From Africa And Latin America
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Current Exhibition

Antonio Malta Campos

SELECTED WORKS BY Antonio Malta Campos

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Antonio Malta Campos
Things

2007

Acrylic on canvas

230 x 360 cm
Once upon a time, jazz introduced the unstable wonder of improvisation, or jamming, to the structures that formerly guided music making. According to the dictionary, the expression has various meanings aside signaling the participation in a jam session, such as: To drive or wedge forcibly into a tight position.
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Antonio Malta Campos
Black & Blue

2007

Acrylic on canvas

230 x 360 cm
Brazilian artist Antonio Malta Campos seems to apply jamming principles to the elaboration of his unpredictable but close-fitting paintings. In a video made of sequences that show a visual account of his creative process, we see him beginning a painting with a single pattern that grows over time into a complex interweaving of visual strata.
We witness how the colour layers start defining organic forms, how transparencies suggest spectral shapes and cubist formations of light and shadow shine out.
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Antonio Malta Campos
Figures in Red

2004

Oil on canvas

230 x 360 cm
The appreciation of the overall composition subsequently gives way to the perception of existing narratives: the soundless intensity of a couple’s conversation and solitary characters in a minimal landscape, looking straight into the void or staring at us as lost heroes. Occasional grids of single elements, such as skulls serially repeated on the painting, also produce a jamming effect of abstract and figurative elements.
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Antonio Malta Campos
Figures in Red #2

2004

Oil on canvas

230 x 360 cm
In his stunning gouaches from the series called Misturinhas, painted motifs are mixed with collaged photographs. Echoes of avant-garde experiments in photo-montage ‚Äď such as in the memorable works of Raoul Hausmann and Laszlo Moholy-Nagy are brought to mind. Malta Campos, employment of sampling, jamming and layering seem to indicate that if his works had sound, theirs would be the sound of jazz.

Text © Gabriela Salgado

ARTICLES

Questão de Método por Antonio Malta Campos
March 23rd 2010, by F√°bio Tremonte, Canal Contempor√Ęneo

Recentemente, tive uma discuss√£o com amigos, um cr√≠tico de arte com forma√ß√£o em filosofia e um artista pl√°stico que gosta de escrever e desenhar hist√≥rias em quadrinhos. Improp√©rios √† parte, coloquei algumas quest√Ķes relativas √† Cr√≠tica de Arte, que considero pertinentes. N√£o posso dizer que meus amigos concordaram com o que eu disse. Eles colocaram outras quest√Ķes, e tamb√©m n√£o posso dizer que concordaram entre si. O fato √© que o Canal Contempor√Ęneo estava escutando a conversa (pela Internet) e me pediu para escrever um ensaio sobre o assunto. Acabei escrevendo um texto que n√£o reflete exatamente o que eu disse, mas chega perto. √Č incr√≠vel como podemos formular as mesmas quest√Ķes de maneiras diferentes; depende do dia. De qualquer forma, a√≠ v√£o minhas considera√ß√Ķes.

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canalcontemporaneo.art

Antonio Malta Campos
Artist's statement

I was born in São Paulo, in 1961. Early on, as child, I started to draw with pencil on paper, with my two younger brothers. My father, an architect, encouraged us. In my teens, between 1977 and 1979, I was a high school student at Colégio Equipe in São Paulo, where I met Rodrigo Andrade, Fábio Miguez, Paulo Monteiro, Carlito Carvalhosa, Leda Catunda, Nuno Ramos and other students who shared an interest in the visual arts.
I started to make oil paintings in 1982, at the Casa 7 studio in São Paulo, with some of my friends from Equipe. I was already an architecture student at the University of São Paulo (USP). In 1983, I left Casa 7 to join another studio, of fellow students from USP. My first show was in 1985, at the Centro Cultural São Paulo. I showed large Neo-expressionist paintings, together with Maína Costales, a painter (and my first wife).
As the second half of the 80s came, Brazilian artists reacted to the eclecticism of the 80s painting vogue. The Casa 7 artists abandoned their Neo-expressionist work, and became abstract artists, influenced by Brazilian Neo-Concretism. My work also changed, as I developed an interest in Cubism.
Since then, I showed my work at museums and commercial galleries in Brazil. My most recent show was at the Centro Cultural S√£o Paulo, in 2012 (with Erika Verzutti).