“The newer paper works take the fetishization of process even further. The replicas of paper are remarkably similar to the real thing. They have a tooth, a visible fibre, and even the dust that has accidentally tainted her raw mixture of acrylic polymers furthers the illusion of cellulose made into sheets. But, in effect, the sheets are plastic and it is only upon touch, or if they are draped over an object, that the acrylic properties reveal themselves. The attentive viewer who is familiar with her strategy might search for discrepancies, and perhaps they can be found in the millimetre high edge of the paper that looks just a little too slick and milky to be true. By making paint into sheets of white paper, Campbell refers back to the foundational materials used to make art. In the white sheet of paper, we have the assumed neutral ground upon which anything can happen. To the artist, this is the most exciting moment, filled with possibility, but one that often ends in disappointment prompting the artist to make more. By bringing the starting point to such a degree of finish, Campbell freezes that moment of potential into an actual fetish, prolonging the sense of anticipation. This, it seems to me, is the paradigmatic Modernist moment—the threshold of anticipation into the next discovery of the unknown.” — Dagmara Genda, Untruth to Materials or Tammi Campbell’s Art After Modernism. Border Crossings, Issue 134, May 2015.
Read: Untruth to Materials or Tammi Campbell’s Art After Modernism