Earlier this month, Paul Cocksedge, and Louise Campbell stopped by for a visit to Berengo Studios to discuss their upcoming exhibits for Glasstress 2011.
About Paul Cocksedge
Reflecting on abstract painting and its place in contemporary society, Paul Campbell explores abstraction’s most poetic, frankly beautiful aspects, while opening up the nearly century-old practice to up-to-date, aleatory experiments with wry techniques and an intensely felt rhetoric of painterly process. Eschewing the politics of “touch” which were the cornerstone of Modernist abstraction, Paul Campbell marks his carefully prepared oil and wax canvases with such every day objects as ten cent string, tennis balls, and remote-control cars, letting the careening traces of paint build up a rich and controlled chaos. “I use just about anything I can to paint with,” Campbell has said about his direct, rhythmic, yet extremely fine-tuned method. “It is a way of getting away from my hand to liberate the painting, a combination of a methodological and intuitive painterly approach.”
About Louise Campbell
Louise Campbell was born in Copenhagen in 1970. Being the daughter of a Danish father and an English mother, she grew up and was educated in both countries. After graduating from the London College of Furniture in 1992, she returned to Denmark and continued her studies in Industrial Design at Denmarks Design School, graduating from here in 1995. She set up her own studio in 1996, from where she has worked independently since. Focus is on furniture and lighting design, but the studio is increasingly involved in product design and interior design projects as well. The client list is long and varied, including companies such as Louis Poulsen, Zanotta, HAY, Royal Copenhagen, Holmegaard, Stelton, Muuto, Interstop and The Danish Ministry of Culture. Louise Campbell’s work is playful and experimental, and is increasingly gaining a reputation for gently twisting not only every day objects and situations, but also materials and manufacturing processes in new directions.