and links


The close ups of construction sites and scaffold are a vertical cityscape: a vertical grid and record of the New York City in flux and change as the the new replaces the old. Akin to Gerhard Richter's Cities,* this work chronicles the enormous changes in New York City and reflects the preservation of historic and sacred spaces, notably Old St. Paul's Church in Lower Manhattan and St. Patrick's Cathedral.

This group relates to previous series because all groups are architectonic. The previous cityscapes are mostly vertical canvasses, paintings of structures emphasizing top and side. The figure paintings are partly about the way the volumes within the space of the painting relate to the body or location of the viewer(or maker). In all the "point of view" is specific and established. The painting acts as an extension of the room, like a mirror or window, containing structures that relate to the position of the viewer's body in space.

In the painting "Fugue" the cubic and rectangular shapes repeat and echo in ways that were not anticipated. While the literal subject is in fact a constuction site with complicated scaffold, the patterns of cubes, parallelograms and other geometric shapes form and repeat in overlapping patterns in space. Through playing and singing, particularly the music of Bach, I became fascinated by the structure of the fugue and counterpoint. In a fugue there is a subject, the repeating phrase that is like a sentence, which repeats in three or four overlapping voices. In a canon (or round), the voices overlay and begin at staggered intervals. The more one plays a fugue the more one notices the hidden subject lines. It is uncanny, the structure lends itself to discovery.

In Colm Toibin's novel, Norah Webster, a woman makes a new life for herself by discovering her voice. Awakened, she makes a new life within. She finds her voice while looking at a painting. The painting releases her from self consciousness, like a point one zeroes in on while balancing. One aspect of playing and listening to music is body awareness, relating to the spaces the sounds conjure up. I feel a relationship though pattern and physical space. In Painting, my engagement ultimately in some way relates back to the physical position of the body in space.

*Richter's Cities are aerial grids of cites affected in by change in WWII




FUGUE A 36 x 36

FUGUE B 36 x 36


Born in Baltimore, Maryland, Camilla Fallon graduated from the Maryland Institute College of Art and is an M.F.A. graduate of the Yale University School of Art. She lives and works in New York City, and taught at the Parsons School of Design for several years in the early 1990's. In 2014, Camilla had a solo show at the Univerity of South Carolina. Camilla Fallon shows her work at scattered venues around NYC, In the past, Camilla exhibited at the Denise Bibro Gallery and the Kim Foster Gallery in Chelsea, The Synagogue For the Arts, the Barbara Ann Levy Gallery on Fire Island, in Williamsburg, Brooklyn and other venues in New York City. Early in her career received many artist fellowships notably from Yaddo and the MacDowell Colony. Camilla doubles as a graphic designer past clients include NBC/msnbc, Nickelodeon, Time, INC., and Design Brand Architects.



December 17, 2009 Nicole Eisenman at Leo Koenig and Eric Fischl at Mary Boone in NYC-by Camilla Fallon posted in
North Atlantic Corridor Arts
August 26, 2009 Governor’s Island by Camilla Fallon posted in North Atlantic Corridor Arts
July 13, 2009 A Studio Visit with Camilla Fallon by Margaret Diehl posted in North Atlantic Corridor Arts
June 30, 2009 Letter From Paris by Camilla Fallon-NYC posted in North Atlantic Corridor Arts
May 20, 2009 A Great Day in the Springtime by Camilla Fallon-NYC posted in North Atlantic Corridor Arts
May 1, 2009 Rear Projection, An Art Exhibition Review by Camilla Fallon-NYC posted in North Atlantic Corridor Arts
April 15, 2009 Cindy Sherman-A Review by Camilla Fallon-NYC posted in North Atlantic Corridor



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