Tammi Campbell’s art practice engages with the tradition of Modernist and Minimalist painting by referring, either explicitly or implicitly, to the legacies of Agnes Martin, Frank Stella, or Sol LeWitt, for example. Campbell humorously probes the specificity of the medium of painting and the fetishism of the creative process through paintings made in the style of trompe l’œil, but which appear to remain unfinished. Her “in progress” and “unfinished” aesthetic draws upon various materials and peripheral activities that are specific to the art world, and which contribute to a deep questioning of the value attributed to painting and to the artist’s craft. In fact, her work tends to generate both anticipation and confusion, and nullifies the usual analytical codes inherent in the act of contemplating an artwork.
Photo by Matt Ramage