STIPPLE AND POINTALISM ARTIST
Jarrett Camp (1980) Is best known for his stipple surrealism from Los Angeles. Jarrett uses his disability of dyslexia to create multi-woven images He likes to create large-size stipple and pointillism artwork. Now is represented by Band of Vice gallery and also the Lakers, he is an award-winning artist in Los Angeles. His is now being displayed around the world, from Los Angeles, Smithsonian, to Frankfurt Germany He is also all over American galleries and museums. Even though his work is about the common themes of life, there is always a twist. The best way to describe his work is there is more than meets the eyes when seeing his work. It is a total escapism experience when seeing the hidden detail that opens up more of the theme of the artwork.
The Confusion
The Confusion’, exhibited at the Smithsonian Institute in Washington D.C.
Jarrett Camp created a unique category to describe his work:
1. Story
2. Elements of Mystery
3. Technique
4. Description
Octo - form - ism/ noun
Definition: A form of art that integrates pure essences of various methods and fuses them together to create a single style as a whole.
Camp’s work marries abstraction (forms, shapes, and color) with his unique brand of illustrative representational storytelling through the use of stipple and pointillism.
When creating his work, Camp follows his own personal formula, The Four Audience Intake Theory which involves four pillars.
Each pillar corresponds not only to different periods of human development but also to his own personal journey and emulates each in the realization of his artwork.
Jarrett Talks About The
The Four Audience Intake Theory
How my disability becomes a gift!
These are the plains in which my eyes create interwoven images. I see in 3D.
Because of my dyslexia, while I’m working on the first plain, my eyes automatically read the negative space and can envision how the second plain will look.
In the second plain, my eyes turn negative space into positive space and at the same time my dyslexia continues to reveal more negative space for the next plain.
In the third plane, I decide how far I want or need to go with the piece. Although I see in 3D which enables me to create complicated images, it puts a certain amount of stress on my brain to complete complex calculations – in other words, my mind is always going, so I need to make decisions about when to take a break, when to stop, and when a piece is finished to my expectations.
