As an artist with a foundation in architecture, my work interrogates the intersections of space, structure, and movement, using abstraction to transcend conventional boundaries. Through printmaking, photography, mixed media, and painting, I explore depth, light, and form, transforming architectural concepts into dynamic, layered visual experiences that oscillate between precision and improvisation.

My artistic practice is conceptually driven by an exploration of building forms and the intricate nature of spatial dynamics. I am fascinated by the interplay between interior and exterior, solidity and void—where structures do not simply stand but breathe. Rather than static depictions, my works often capture an ephemeral sense of frozen air movement, as if space itself is caught mid-shift.

Living in six countries across three continents has shaped me as both an artist and an observer, a translator of unfamiliar environments into expressive compositions. This continual engagement with place and displacement manifests in my work as layered perspectives—architectural fragments collaged into a complex dialogue of representation. Having worked as a creative collaborator and conceptual thinker alongside the renowned architect and artist Zaha Hadid, I have developed an approach that merges architecture’s rigor with the fluidity of artistic interpretation, reconfiguring spatial and cultural narratives into evocative visual languages.

My creative process is one of relentless experimentation, pushing the limits of digital and analogue techniques. By layering diverse printing methods, foils, and spraying techniques, I create compositions that exist between materiality and illusion—works that shimmer, flash like x-rays, or dissolve into spectral hues. These pieces challenge the notion of architectural representation, inviting the viewer to see buildings not as static forms but as dynamic, shifting presences.

Through my work, I invite viewers to engage with the intricacies of architectural space, to reconsider the built environment as something fluid and evolving. Each composition is a meditation on perception, a challenge to traditional spatial narratives. By joining SINGULART, I seek to expand this dialogue, offering collectors and audiences a body of work that reimagines the boundaries between art, architecture, and design. Ultimately, my goal is to create work that does more than represent—it invites discovery, curiosity, and new ways of seeing.

links:

https://drawingmatter.org/dmj-five-episodes-from-the-history-of-drawing-instruments/?utm_source=Drawing+Matter&utm_campaign=369c874e8e-Sept_COPY_02&utm_medium=email&utm_term=0_f4eda8517c-369c874e8e-234575009&mc_cid=369c874e8e&mc_eid=0d69f22eba 

https://www.dwh.de/en/events/kuenstlergespraech-mit-antonio-de-campos

https://www.dwh.de/en/events/antonio-de-campos-konzepte-fuer-zaha-hadid/concepts-for-zaha-hadid 

https://fuga.org.hu/fevent/antonio-de-campos-zaha-hadid-koncepciok/

https://www.youtube.com/watch?v=8mmUQ154CME

https://www.archpaper.com/2022/11/antonio-de-campos-spotlight-career-spent-working-behind-scenes-zaha-hadid/

https://dam-online.de/veranstaltung/antonio-de-campos/

https://www.tatlerasia.com/homes/architecture-design/discover-how-the-work-of-antonio-de-campos-creative-consultant-and-collaborator-to-the-late-architec

Ghost Artists: The Invisible Architects of Art and Architecture

Within the landscape of both contemporary and historical art, a quiet yet profoundly influential presence lingers—the ghost artist. These unseen minds and hands shape and define some of the most celebrated works, yet their contributions remain uncredited, their names absent from exhibition catalogs, museum plaques, and critical discourse. Operating in the shadows of the art world, they do not simply execute instructions; they translate, refine, and expand upon the visions of established artists, merging their own technical mastery with the conceptual frameworks of those they serve. Their artistry is not merely a skillful replication but a silent creative dialogue, an extension of another’s process that often dissolves the boundaries of singular authorship.

But I am not speaking of an artist’s assistant, one who follows directions and lends their technical proficiency to a famous figure. I refer to artists in their own right—those whose creative ingenuity has shaped entire bodies of work yet who lack the financial means, the institutional access, or the opportunity to establish solo careers. Their visions live on, not in their own names, but through the legacies of others. This is my story as a creative collaborator to the late Zaha Hadid, a brilliant and revolutionary force in architecture. My role was not that of a technician executing directives; I conceptualized, composed, and developed new techniques and ideas that fit within the realm of her artistic language but pushed it into new territories. My work added layers of experimentation and expanded her body of artistic production beyond what had existed in the '80s and '90s, yet it remained uncredited.

As a ghost artist, I existed in a space of paradox—essential yet unseen, indispensable yet erased. Over thirteen years, I envisioned and produced hundreds of works under the Zaha Hadid name, yet none bore my own. These were not merely exercises in technical refinement; they were works of deep experimentation, works that transformed her artistic vocabulary in new ways. And while Zaha herself fostered creative dialogue, the system around her—the galleries, the institutions, the market—benefited from maintaining the illusion of a singular genius. To claim credit, even privately, was to risk exclusion. I attended exhibitions where my works were on display, yet I could not speak of my authorship without jeopardizing my ability to continue working. To acknowledge my role would have been to render myself unemployable.

And yet, the influence of ghost artists is undeniable. Their labor is not merely supportive but foundational. They are architects of form, orchestrators of materiality, and silent interlocutors in the construction of visual language. Their presence extends beyond the canvas, into sculpture, installation, and even architecture itself—fields where authorship is attributed to a single visionary while the collective hands shaping these ideas remain unseen.

To recognize ghost artists is not to diminish the figures they work alongside, but to illuminate the intricate layers of artistic production. These are not mere assistants but co-creators, individuals whose aspirations and abilities have been absorbed into the legacy of another. Their anonymity does not erase their impact—it highlights the complexity of authorship in contemporary art and architecture.

As we stand before renowned works, tracing their brushstrokes, sculpted contours, and spatial compositions, we must consider the unseen figures whose skill and vision have shaped them. Their contributions are not footnotes; they are integral to the evolution of art itself. The ghost artist does not seek the limelight, but their presence is undeniable—an unseen force shaping the very structures of artistic and architectural history.