(above) Open Pit (detail), Mixed-Media on Laser Prints on Paper, approx. 300 x 500 cm, 2023
The capacity to put things into the world is one of many excellent metrics for defining your individual worth, and is generally one of the first things to consider when investigating a legacy.
It is difficult to define areas of expertise that don’t in some way allow us to take an idea, concept, or thought, and allow it to materialise for others to perceive.
Even primarily transformative endeavours like scolding shards of potatoes or replenishing displays of goods allow for some kind of substantiation of abstract ideas into reality, under the designation of cooking or stocking.
Creativity is one of the few occupations where turning thoughts into actions is a mandatory part of the process.
Taking a photo, designing a poster, executing a performance; transporting a pile of pigmented oil from a tube to a primed, stretch fabric in a very specific way so that when others look at it, they somehow feel better.
Tell me about an artist you know who doesn’t act on any of their inspirations, experiences, or emotions. Practice is completely defined by what we choose to bring into the world, and is a non-negotiable reality for anyone who wants to communicate through their chosen creative medium.
While it is established that adding, building, or applying is fundamental, I would like to introduce you to an artist who values creativity as both a means to impose, as well as remove.
Camilo Parra is a Colombian-born, London-based artist and graduate of the Slade School of Fine Art's painting program. His practice is defined by the gathering, manipulation, and curation of materials into artworks, that are systematically eroded through various processes in order to develop a completely unique, weathered appearance.
In his latest project, Open Pit, he takes advantage of exclusive access to the James Webb space telescope to collect imagery to create vast collages of photos that have been chemically eroded and manipulated to create expansive abstractions that tower over the viewer.
The result is an organic, rugged, and intense finish that encourages the viewer to dart from one element to another, and trace what remains of the original photographs. Like stargazing, we scan the surface for recognisable forms, evidence of human intervention, and pockets of untreated imagery to ground ourselves within the composition.
The importance of Camilo Parra’s Open Pit is derived from his dedication to bringing predominantly inaccessible intergalactic realms into the public eye, and allowing audences to interface with natural beauty beyond the scope of scientific endeavour.
The masterful defacement of each photograph is an essential aspect of this. If the photographs are the unequivocal truth behind what lies beyond our expansive solar system, then Parra’s intentional erosion of its likeness is a commentary on how the truth is made palatable by how it is relayed, even if at the expense of how much can be deciphered or made visible.
In an age where information is so easily accessible, Open Pit returns us to a time where truth is curated by the few who maintain access to tools that dismantle common secrets. The uncomfortable reality is that the endlessness of space is daunting, and frankly, too overwhelming for human comprehension.
Like the lottery, the odds of getting what we signed up for are so slim, that their minuteness is simply impossible to visualise. Open Pit provides us with an insight into unrestricted truth, mutated by highly skilled hands to create art that is as aesthetically pleasing as it is informative, utilising creativity to turn information overload into a beautiful surface for anyone to enjoy.
Bleeding into theology, Open Pit allows us to accept what is in front of us, and appreciate its beauty, despite the fact that everything is not made abundantly clear.
Through engaging with the artist, I have had the privilege of speaking to Camilo about his work and better understanding the thinking behind his practice. Please find below my exclusive transcript of my online interview with Parra.
What are you working on at the moment?
Currently, I'm focused on advancing the Open Pit project while also exploring other creative paths. I'm experimenting with new chemicals and techniques to remove ink layers from these sheets and prints. My goal is to create a new large-scale piece connected to my current studio space in London, similar to previous ones in this project. Additionally, I'm simultaneously developing another project focused on internal body references, exploring both traditional and experimental approaches between these two projects while maintaining a certain balance.
How does this specific project fit into your overall artistic practice, and how did it originate?
This project originated unexpectedly during my undergraduate thesis work, revolving around religious concepts. Initially upset by the fading of photocopies of Christian religious representations of biblical scenes, I later recognised the formal and conceptual potential in this image deterioration. Subsequently, I began exploring methods to remove ink using other images and decided to use the Hubble telescope imagery, driven by my fascination with astronomy. This project evolved into my central focus, shaping my artistic process with a consistent procedimental emphasis on altering existing ink surfaces, characterised by accidental organic shapes juxtaposed with geometric lines, through an exploration of large-dimension surfaces.
What motivated the shift from the Hubble to the James Webb telescope?
My artistic inclination towards maximalist imagery, contrasting with my limited resources, led to a fascination with employing high-tech images through low-tech means like printers or photocopiers. As the James Webb telescope emerged as the most powerful humanity had created, surpassing the capabilities of the Hubble, I felt compelled to incorporate its images into my work. This need coincided with my master's studies at Slade and my studio space at the time, where I developed the Open Pit piece, shaping it like my studio’s floor area. This way, I bridged the vastness of this deep space imagery with the more concrete and closer architectural space I had surrounding me.
What challenges did you encounter in developing this specific project in relation to the previous one with the Hubble telescope?
In making this specific project in London, I encountered challenges such as sourcing chemicals and adhering to safety regulations in the school, the studio, and the UK compared to Colombia. Working with these chemicals affected my health and forced me to expand my artistic repertoire to a paradoxically more traditional materiality for the projects I started developing. Now I am fully aware of the risks involved in working with these substances and have had to heighten precautions, definitely marking a turning point in my practice. Despite these obstacles, the central role of this specific project with this telescope imagery continues to shape my whole practice, and it's still a vital reference point for the other projects I am developing.
What's the end goal of this work and your practice in general?
The ultimate goal of my work and practice is to question and transform the images that have shaped my perception of the world. It's a way of reacting to these images, expressing both fascination and scepticism, and creating something that constantly unveils new discoveries. By highlighting the manipulability of images in today's post-truth era, I aim to challenge the truths propagated by various power structures. Ultimately, it's a search for meaning and understanding, driven by overarching curiosity and inquiry into the nature of reality and how we perceive it.
You can explore the full body of Camilo Parra's work at camiloparra.net, and follow him on instagram: @c.a.m.i.l.o.p.a.r.r.a