Video meet Drawing: Final Result

As I noted before, as the next step in my own artistic endeavors, I've decided to marry video to my drawings. In my heart, I am but a storyteller, and thus this marriage, of visual descriptions of all sorts, is a natural one.

And where else to start but with one of my iconic obsessions: Che Guevara. Below is what the drawing originally looked like:


Then, after discussing all sorts of possibilities with the video tech wizards at the Washington Glass School, I took the Exacto knife to the drawing and carved a "Heart of Jesus" shape underneath Che's neck. The thorns around the heart delicately cut out. Next was the precise measuring to ensure that the small LCD video screen (guaranteed for 60,000 hours) would align and fit perfectly under the cut out heart.

Next to hunt for old newsreels of Guevara and appropriate one of them that would fit well in the vertical LCD screen and deliver a good image across the thorns. My idea was to try to deliver the dual nature of Guevara. That is the iconic face and hero to millions of people who know little about this psychopath, and also deliver a harsh reminder about the chief executioner of the Cuban Revolution and the man many Cubans know as "El Chacal de La Cabaña."

"El Chacal de La Cabaña" translates to the "Jackal of La Cabaña," although it is usually translated as the "Butcher of La Cabaña."

La Cabaña is an 18th century fortress complex located on the elevated eastern side of the harbor entrance to Havana, and the location for many of the thousands of firing squad executions which took place after January 1, 1959. Shot were former members of Batista's police, army and air force, informants, traitors, and counter-revolutionaries.

The best known story about this period (which I heard related in a Spanish language radio show in Florida) relates to how a Cuban mother went to see Che to beg for her son's life. The son was 17 years old, and was on the firing squad list, to be executed within a week. If Guevara pardoned her son, the mother begged, she would ensure that he never said or did anything against the Revolution.

Che's response was to order the immediate execution of the boy, while the mother was still in his office. His logic: now that the boy was shot, his mother would no longer have to anguish over his fate.

Two newsreel videos were then married: it starts with Che talking and it ends with the firing squad execution of one of his many victims. The gruesome scene plays in his heart. This is what the cut out hart looks like with the video screen aligned behind it.



Then the delicate art of framing the piece and aligning all the electronics on the back ($1,000 worth of electronics). This happened several times due to the usual hair or other object discovered after one frames a large piece. Once framed it looked terrific.

"It needs to be balanced on the top," offered several critical voices from talented people around me, including my wife. The loudest voice was the one in my head. I had considered doing some Romanesque writing on the top of the drawing at the very beginning, to tie it even more to a iconic, saint-like presence, but discarded the idea.

I wrapped Che and prepared it for it maiden voyage to the Miami art fairs.

The next day the voices were too loud.

I unwrapped Guevara and then with a sigh unframed it and took it all apart so that I could draw on it. This is about halfway through the process, before I took a tortillon to the words to burnish them into the paper.



The words say SANCTUS GUEVARUS CASTRUM CANIS and are the result of hours of thinking about an appropriate title that delivered the real man who was Che Guevara. It is also the result of consulting with a Latin expert who could explain the nuances of Latin language declension and other such recondite subjects. With a bit of modernized translation it means "Saint (or Holy) Guevara, Castro's Dog." But a savvy play on words delivers a second (actually prime) meaning: "Holy Guevara, Fortress Dog."

The word "Castrum" could be modernized Latin for Castro but it also means castle or fortress.

"Fortress Dog" or the "Jackal of La Cabaña Fortress." Here's the video playing in his heart:


Here is the video - the orientation is sideways so that it can play correctly in the installation within the drawing.

And here is the finished piece:


SANCTUS GUEVARUS CASTRUM CANIS. Charcoal on paper, electronics, video player and video. 27.5 x 27 inches. Circa 2010 by F. Lennox Campello
Now let's see what Miami thinks of it.

Call for Exhibition Proposals

Deadline: January 31, 2011

The Olin Art Gallery on the campus of Washington & Jefferson College, Washington, PA, is now accepting exhibition proposals in any medium for the 2011-12 academic year. Proposals may include solo or group exhibitions. Submissions must include contact information, artist statements for all participating artists, 10-20 digital images (jpg-format, 300dpi) on CD, an image list (including title, media, size, and date completed for each work), and a resume or CV. There is NO entry fee. The application deadline is January 31, 2011. For additional information, contact

Doug McGlumphy
Director, Olin Art Gallery
Washington & Jefferson College
60 S. Lincoln St.
Washington, Pa 15301.

Website: www.washjeff.edu/olin/aspx.
Email: dmcglumphy@washjeff.edu.

Proposal materials will only be returned if provided with a self-address stamped envelope with sufficient postage. This opportunity is open to all professional artists 18 or over.

Opportunity for artists

Deadline: December 20, 2010

The Bradley International Print and Drawing Exhibition is the second-longest running juried print and drawing competition in the country, now in its 33rd year. Every two years it features the best contemporary graphic artwork from around the globe. All accepted artwork is featured in a full-color exhibition catalogue and on the exhibition’s website.

JUROR: Robert E. Marx. Robert Marx’s long and illustrious career includes recognition as a master printmaker, an illustrator of more than a dozen books, a distinguished professor of art, and a Fulbright scholar.

AWARDS: Four cash prizes totaling $2500 will be awarded by the Juror. In addition the University as well as other local art organizations will select multiple purchase awards.

TO APPLY: Please visit their website here.

Video meet drawing



This is the back of my first ever experiment, let's say the prototype, of my new exploration on the marriage of video and drawing. I am sure lots of artists have tried and are doing this already, but it's new for me and thus exciting, and even this first prototype kicks ass.

I'll show you a pic of it from the front once it hangs in the Miami art fairs in a week or so.

When brains fart

I did one of the most professionally embarrassing things today, and the only blame that I can find is having a brain fart.

This weekend has been immensely busy with family coming from all over for Little June's baptism, which was this weekend. Because of that, I had postponed a professional engagement from the weekend to Monday. So the weekend was packed to the gills prepping for the baptism, doing it, having the reception party, etc.

Monday was to be a packed day.

First I had to drop off my cousins at the National Mall for a few hours so that I could go and do some work (more on that later). From there, my plans was to pick them off after I was done, then drop them off at national for their flight back to Miami, and then head off to Alexandria to do my professional engagement job (I'm too embarrassed to tell you what it was).

So, I braved late afternoon DC traffic, picked them off across the street from that weird flaming gold sword sculpture on Constitution Avenue (between 16th & 17th I think), turned right on 14th street, crossed the 14th street bridge relaying the Greaseman's bad taste radio joke about Air Florida that got him fired, dropped them off at National, and then... instead of getting back onto George Washington Parkway for a nice, easy short drive to Old Town Alexandria, as it had been my plan... the cell phone rings, and I pick it up. And then my brain goes onto another realm and I go on automatic and start driving home.

After brutal traffic at that time, I get home to discover, to my horror, that I had skipped on a very special task that I had been looking forward to for the longest time.

Feh! Seldom has a man been so embarrassed without at least a decent excuse.

WPA 2011 Artist Directory

Deadline: February 1, 2011

The Washington Project for the Arts has announced a call for submissions for its 2011 Artist Directory.

Published bi-annually, this four-color, 8.5 x 5.5 inch directory is the definitive listing of established and emerging contemporary artists throughout the Washington region. It is seen by more than 2,000 galleries, curators, art consultants, and interested art patrons. Copies are distributed to selected art critics and other members of the press, and to museums both in the region and outside the area. The 2011 Artist Directory will also be available for sale on the WPA website and at select area retail locations at the price of $9.95.

Each participating artist will be featured on a full page (8.5 x 5.5 inches). The page will include the artist's name, a color digital image of their work, their studio address and phone number, email address, web address, and their gallery affiliation.

All current WPA members are eligible for publication in the Artist Directory. There is an additional registration fee that includes a copy of the Artist Directory. Participants who submit before December 1, 2010 can pay a discounted early registration fee of $65. After December 1, the registration fee increases to $75. The final registration deadline is February 1, 2011. No submissions will be accepted after this date.

All submissions will be handled through an online registration form on the WPA's website.

Each participating artist can upload one image to be featured on their page. Images must be submitted as .eps or .tif files in CMYK format. They must be 300dpi and as close as possible to, but no smaller than 6 inches on the longest side.

If you have any questions regarding the 2011 Artist Directory, please contact Blair Murphy, Membership Directory at bmurphy@wpadc.org or 202-234-7103 x 1.

What's new Buenos Aires?

(The line is from this Evita song; you'll see why in a minute... sorta). And thus, I've decided to take the next step with my artwork.

For years and years, after I graduated from the University of Washington School of Art in beautiful Seattle, I painted. Because I was mostly living in Europe at the time (Spain and Scotland, with a long stint in between in Lebanon and postgraduate school in Monterey), my artwork focused on what was around me and I painted.

When I returned to the US for good in 1992, I also abandoned painting and returned to my love for drawing. A couple of thousand drawings later, I am ready to take my drawing to the next level.

In my heart, I am a storyteller. I like to use my drawing to push ideas, historical points, narrative, agendas, questions and even fantasies. My series of "Written on the Body" drawings, such as the one below (that's the piece selected by Mera Rubell for last year's WPA auction at the Katzen Museum), I told stories by figuratively decorating the bodies of people with writing anchored in current events, literature, history, etc.

"Age of Obama - Nobel Peace Prize" Charcoal on Paper. 16x12 inches.
I going to expand on that storytelling driving force and here's how I'm going to do it: I'm going to marry drawing with video imagery.
First there will be baby steps. The initial idea is simple. I am going to do a drawing much like this one below, of the psychopath Che Guevara, sanctified of his sins by an adoring public who has little idea who the man really was.


San Ernesto Guevara de la Serna Lynch, known to most of the world as 'Ché' and to many Cubans as 'El Chacal de La Cabaña'
F. Lennox Campello. Charcoal and Conte on paper. 15 x 10 inches.
In his chest there will be heart much like the Sacred Heart of Jesus from Catholic imagery and tradition. There will be a cutout within this heart, a window into the heart if you will, and visible there, through the hole in his heart, will be a video, playing in a continuous loop showing newsreel video of Guevara reciting a poem, then the video ends with the public firing squad execution of one of the many Cubans that El Chacal de la Cabaña had killed in 1959.

A simple story about an immensely complex man, told in a video drawing.





Muchas gracias to my good friend Tim Tate, video sculptor extraordinaire for giving me the encouragement (and technical acumen) to proceed in this direction.

PS - If you don't get the Buenos Aires banner: Che was Argentinean, not Cuban. Ernesto "Che" Guevara de la Serna Lynch was born on May 14, 1928 in Rosario, Argentina. An Argentine blue blood, Che was the son of Celia de la Serna, member of one of Argentina's high society families. His mother's lineage was of undiluted, pure Spaniard blood, and one of her ancestors was a Spanish viceroy of colonial South America for the crown of Spain. His father, Ernesto Guevara Lynch was the descendant of both Spanish and Irish nobility, and his parents Roberto Guevara Castro and Ana Lynch had been born in California, where their families had migrated from Argentina during the California Gold Rush. Yes, Che had American grandparents.