BIO
Behind every work of art lies the dEvery Art Piece There Is A Dream That Designed It.
BIO
Award winning Los Angeles artist Jarrett Camp was born in Warren, Ohio and grew up mostly in West Covina, California where he became fascinated with skateboard culture. He finds inspiration in way the people of LA express their passion, whether it’s through skateboarding, fine art or graffiti.
Dyslexia affects the left side of the brain impairing the ability to sort out language in the correct sequence, which in turn makes processing the alphabet extremely difficult. While this is a challenge, Camp has leveraged the inherent benefits of dyslexia - an aptitude for two dimensional representation as well as three dimensional design. For instance, when frustrated with his inability to get a piece of perspective absolutely perfect, he’s been known to carve the problematic image out of an eraser at hand to use as a model from which to draw.
His work ranges in size from 18”x24” to upwards of 60” x 80”. Using 1.1, 1.3 and 1.5 micron pens at 500-1000’s dots per square inch on archival giclée paper, his work can take up to 8 months to complete.
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 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.
1. Story
This element combines illustration and storytelling through use of objects as symbols and corresponds with understanding universal connections that comes with adulthood, beginning at age 25. This stage represents the bigger picture, the coming together as a whole and the understanding of it that comes only through wisdom gained by experience.
This concept is realized as the work as a whole in which technique and illustration are combined.
2. Elements of Mystery
This element employs the aspects of curiosity and exploration of childhood and adolescence by hiding images and characters who serve as navigators within the larger piece for its viewer to find as well as to keep the viewer entertained and engaged. In this life period, ages 5 through 16, early stages of disabilities like Dyslexia are discovered while at the same time unusual talent emerges and is honed. This stage is marked by exploration and discovery and corresponds with the age of reason.
This concept is realized in the work through abstraction and the ability to see things in a 3D format that comes with Dyslexia.
3. Technique
This element builds upon lessons learned in childhood. This period is marked by advancement in understanding and actions, corresponding to coming of age, ages 16 – 25.
This concept is realized in the work through composition and value and the complex interweaving of images using stipple and pointillism.
4. Description
This element invites viewers of all stripes into Camp’s private creative world, giving his audience a window into the purpose and story of each piece.
This concept is realized through the written word.
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.
