Cressida Campbell in her studio
“自从那漫步道上的五分钟之后,我的幸福就获得了形状、气味和颜色,幸福就是暮春,是斜阳,是开花的椴树,是莎士比亚,是疲惫,是融化。”
—— 莫妮卡·马龙《飞灰》
Cressida Campbell
Sydney B.1960
1960年生于悉尼的坎贝尔,是当代澳洲艺术界一株静默绽放的奇花。她以刀代笔,在木板上雕琢出令人屏息的细腻世界——那些庭院里斜倚的玫瑰、梳妆镜中的侧影、甚至随意摆放的园艺工具,经她之手都化作凝固的诗篇。
Garden Island 1990
不同于传统版画,这位色彩魔法师独创”绘印合一”技法:先在雕刻好的木板上泼彩敷色,再拓印于纸。每一幅作品都需历经数周的精雕细琢,木纹的呼吸与颜料的流淌在纸上达成微妙平衡。她总说:”美不在远方,就在晨光抚摸的窗台,在剪刀留在桌面的弧度里。”
那些被常人忽视的日常片段,在她笔下焕发出珍珠般的光泽。工具箱的金属反光、窗帘褶皱的阴影层次、甚至玻璃杯上的一道水痕,都成为她向时光致敬的仪式。当观者驻足画前,恍然惊觉:原来我们与美的距离,不过是一个重新学会凝视的转身。
艺术家 Cressida Campbell
works

Heath-leaved Banksia (Australia)
明媚的光· Melancholic and sunshine light
浮世绘的东方之美· The Oriental Beauty of Ukiyo-e
When the Queen opened the National Gallery of Australia (NGA) on 12 October 1982, a young Cressida Campbell stood excitedly in the audience. Four decades later, the much-loved Australian artist is honoured with a survey show at the NGA, commemorating the institution’s fortieth birthday and celebrating the humble virtuosity of Campbell’s output.
Plastered across the press release for this survey show is a quote: “Every artist has their language – any half-decent artist has their particular handwriting, as Margaret Olley used to say – and it’s showing people how to see your vision of the world.” This sentiment, of vocabulary and vision, is true for all artists of course, but Cressida Campbell shows us hers with a clarity and continuity that feels radical in an art world that champions extreme evolution and big stylistic strides in an artist’s career.