Pedro Campos

Pedro Campos

Pedro Campos did not have his first solo exhibition until 1998, when he had a showing in Salamanca and A Coruña. The results of this were so encouraging that the following year he determined to give up all other activities and become a full-time painter- and with considerable success. His meticulously executed snatches of the real world are executed with the minute precision of higher mathematics; and yet what seem to be very cool, unemotional artworks, embracing a quietist aesthetic, turn out to set off an intensely emotional experience.


What begins in mathematics, ends in a subtle and a virtually indefinable magic.

From “Exactitude: Hyperrealist Art Today” By John Russell Taylor

BORN: 1966, Madrid

EDUCATION: Diploma from the Official School of Conservation and Restoration of Works of Art of Madrid

2012- “Hyperrealism Now”
2011- “Bon Appetit”
2011- “Celebrating 10 Years of Hyperrealism Today”
2011- “Auto Art”
2011- “Winter Show”
2010- “Winter Show”
2009- “Exactitude V”
2008- “Exactitude IV”
2008- “Summer show”
2006- “Art London2006”

2011- “Agua” , Galería Santiago Echeberría , Madrid
2011- “Fashion Victims” , Galería Santiago Echeberría, Madrid
2010- “El Arte del Golf”, Galería Santiago Echeberría, Madrid
2007- “Art London2007”, Royal Hospital, Chelsea, London
2006- “Miradas urbanas”, Galería Castelló 120, Madrid
2005/ 2004/ 2001- Fornara Gallery, Marbella
2002- River North Festival, Galería Gaudí, Chicago
2001/ 2000- Galería Detursa, Madrid
2001- Galería Gaudí, Chicago
2000- Galería Almirante, Lugo
1999- Casino de la Unión, Segovia
1999- Club de Regatas ,Santander
1999- Sporting Club Casino de La Coruña Casino de Salamanca
1999- Real Sociedad Bilbaína
1999- Castillo de la Coracera, Madrid
1997- Galería Recoletos, Madrid

2004/ 2002- Fornara Gallery, Marbella
2000- Galería Detursa, Madrid
2000- Galería Almirante, Lugo
1999- Casino de La Union, Segovia
1998- Casino de Salamanca
1998- Sporting Club Casino de La Coruña
Campos has attributed his work in restoration to honing his craft in precision, stating: “I think the influence of restoration in developing my own way of painting has been important. The restoration of lost areas in antique paintings forces you to seek excatitude in color: any personal intervention should go unnoticed.”

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