These are paintings about degrees of self consciousness and play; they may be overtly sexual, may not; a  man or woman alone and unselfconscious but also staged. There is a range of vanity, truth and honesty about the body.
Scale is important, I make the figures appear to be in an extension of the room. When viewers share the space with the paintings the dyanmic changes the space and a new spatial relationship takes hold. I am attracted to all kinds of painting, Lucien Freud’s and Jenny Saville’s texture and Cecily Brown’s paint.

The mirror reflects the gaze of the woman in the painting whose face is hidden or turned away, self involved. In "Homage to My Body ",2009, I set myself up as the Velasquez Rokeby Venus but the light in it recalls Vermeer or Dutch painting. In "My Face" I set myself up on my bed looking playful like a yogi looking in a big mirror, going for the light in this one too, creeping light with lots of color in the grays Dutch light.

You can’ t always fully see my face, only the reflection with the head tilted back. A painting has script on it of that says ( Embarrassed) I am too embarrassed to look at you directly. There is freedom in solitiude, playfullness and separation of the self from a full gaze.

At times I try turn paint into the embodiment of female self-consciousness to scrutinize and be scrutinized to feel what it might have been like to simultaneously be Courbet and his model. By thinking about myself as a character I am also asking what it would be like to be in one of Courbet's paintings considering how sensual they are and what that means in the context of our age

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Who's Zooming Who? by Barbara Ann Levy

Camilla Fallon’s paint is a stealthy vehicle for her intelligence! Her self-portraits are painterly and provocative.
They make reference to well known art historical periods as well as reflect the quick repartee and boomerang interaction of
social networking and the emerging world paradigm albeit at a much slower more considered pace.
They are about self examination as well as gender and sexual identity.
They are also metaphors for the creative process itself; how images emerge, to see something from a different perspective.
She has made paintings of herself holding many different shapes and sizes of mirrors. In this painting the artist holds a long rectangular mirror to reflect her image to the viewer. I am left with the question,
“Will she need to crane her neck in this position to see herself?”
“Ay, there’s the rub”!
She seems to reflect every woman’s dilemma caught in an institutionalized sexist society.

About

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. Camilla has 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. She has received many artist fellowships notably from Yaddo and the MacDowell Colony.

Links

http://wpbnyc.wordpress.com/?s=camilla+fallon

http://www.huffingtonpost.com/john-seed/precise-paintings-painter_b_816515.html#s232689&title=Camilla_Fallon_Cleos

click for recent interview with Qi Peng at the SLCExaminer

for more information please see:

Camilla Fallon on Neoimages

http://www.justin.tv/bergerartgallery/b/258423377

In the Flesh , by Margaret Diehl

http://camillafallonartanddesign.com