IMAGINE GOLD, 2016. Acrylic, mylar, foils, wood. 

From the catalog, by Harald F. Theiss:

In her works, this artist pushes the boundaries between painting, sculpture, and collage further than ever. Campau combines a wide variety of materialities and creates a new composition of a technoid-looking mash-up. She laminates various image carriers, such as acrylic glass sheets with a mirrored Mylar film, which, in turn, she coats with large, heavily paint-loaded brush strokes and acrylic paints. The final paint layer allows the (image) objects to glisten with their reflective surfaces spanning the room. From time to time, traces of the development process are left behind as an artifact (The Beginning, 2010). With her performative painterly concept, the artist moves beyond the realms of the traditional picture carrier or dissolves it entirely. The space abstractions mark and measure the location anew. The result is expanded cartographies that, in a certain way, celebrate and, at the same time, liberate the space from the existing layout. In this context, we speak of “poetics of space” (Gaston Bachelard, Die Poetik des Raumes [Frankfurt am Main, 1987]). References to the cultural meaning of spatial installations and awareness can be found in Campau’s “expanded paintings” such as Imagine Gold (2016). This golden monochrome wall installation literally pours into the space and is both an illusion and reflection. Using historical architectural references, the artist creates an intense interplay between color and natural light, so that the room and work merge into a spatial work of art.