Hello, my name is Kamilly, and I am a Brazilian painter!

Oil painter exploring literature, memory, history and the darker sides of the landscape.

My name is Kamilly, but I prefer to sign my artwork as Camille, a stage name I find simpler. I’m Brazilian, 21 years old, and from the state of Paraná.

I didn’t have much exposure to art during my childhood. When I was 14, I painted an old church for the first time as part of a school project. My teacher really liked the result, and it was through that experience that I realized how good it felt to apply paint to a canvas.

Starting in 2020, I began painting more frequently, although I was still figuring out my artistic preferences. Initially, I painted colorful trees, but over time, I realized that the excess of bright colors made me feel somewhat uneasy. That’s when I discovered oil paint and began to explore painting in a more personal way, seeking to represent what I feel and the landscapes that spark my interest. My work is characterized by an interest in tranquil and melancholic atmospheres, still lifes, and a palette of slightly desaturated colors. Browns, grays, and yellowish tones frequently appear in my pieces, creating a visual language that reflects my aesthetic preferences and the way I relate to painting.

My creative process takes time. I paint when I feel that a particular work needs to be created, even if it spends a long time taking shape in my mind before it reaches the canvas. The painting thus emerges from an internal process of development that precedes its execution.

PORTFOLIO

DER ALTE BAUM

Oil in canvas, 2026

H80 X W60

Der alte Baum is the result of a process that spanned years of perceptions stored in memory. A court jester, condemned to live in a tree without being able to leave, asks for permission to be free, even though his request seems unlikely. On the court jester’s face is a pained, deranged smile. Much of his appearance resembles a figure from a play that used to be in my house, supposedly made of cotton.

Saint James the Greater

The face of James the Greater differs from the depiction in Leonardo da Vinci’s original The Last Supper. In my view, his upward-arched eyebrows express surprise and, at the same time, seem to suggest an explanation, as if the character were trying to explain something.

The depiction of James the Greater in Leonardo da Vinci’s original painting strikes me as less intense, particularly because of his mouth, which appears more closed and rigid. In contrast, in the figure I came to know through the artwork I had at home, I notice his eyebrows arched upward, suggesting surprise and, at the same time, a kind of justification.

Castle of Udolpho

Oil in canvas, 2023

H20 X W20

Jane Austen wrote Northanger Abbey, a novel that contains, within its pages, another book: The Mysteries of Udolpho by Ann Radcliffe. It is a dark story in which Emily is taken to a remote castle in Italy. This short work depicts a place so melancholic that we cannot fully perceive it within the story: we see only dark shadows. There, Emily will face the wickedness of Signor Montoni, just as Catherine believes she will face that of General Tilney. In my painting, I sought to convey this somber atmosphere through the image of the castle, transforming the perception I formed of this place while reading into shapes and colors.

Email: kamillyfigueiredo07@gmail.com

coffee, cherries, bread, and the ladies

Oil in canvas, 2024

H25 X W25

This piece depicts a corner of my kitchen, where I experimented with still life painting, a genre that interests me. On the table, I arranged bread, coffee, and cherries, exploring the colors, lighting, and shadows of the objects. The yellowish tone that runs through the composition conveys a sense of familiarity and coziness, making the depicted space evoke the idea of home.

On the wall, a small painting depicts two ladies on their way to church. Their presence establishes a special connection with the still life: as I look at the scene, I feel as though I am sharing the food laid out on the table with these ladies. Thus, the work draws from an everyday fragment of my home and transforms the depiction of the objects into a personal experience of belonging and togetherness.

the way to the inn

Oil in canvas, 2024

H40 X W40

The Way to the Inn depicts an imaginary landscape inspired by the English countryside, which I greatly admire. I like how these fields stretch across relatively flat terrain, yet with gentle undulations that break up the continuity of the landscape without making it seem exaggerated. In this setting, I imagined a 19th-century inn, situated next to the ruins of an old church, of which few traces remain.

The work stems from my interest in these rural landscapes and the possibility of imagining places that do not exist exactly as I paint them. The path draws the eye toward the inn, while the ruins add to the landscape the presence of an ancient structure, of which little has survived.

In addition, the sky is filled with late afternoon orange clouds a detail I really like and that adds to the atmosphere of the landscape.

Field on Sunday

Oil in canvas, 2023

H25 X W30

Field on Sunday was inspired by a day when I was able to go out into the countryside and watch the turbulent sky, with dark and light clouds that seemed to clash with one another. I have a particular fondness for this kind of landscape, it makes me feel really good. The painting draws on that moment and the way I feel when faced with a sky like that.

Boy with a Lute

Oil in canvas, 2025

H40 X W40

The boy with the lute is alone on the stage of an old theater. He finds a lute and tries to learn to play it, surrounded by the curtains and fabrics that make up the set. His face has no distinct features, leaving his expression undefined. The color palette, with muted shades of green, red, and blue, contributes to the atmosphere I envisioned for the scene.

This is a piece that conveys a sense of calm to me. I like to imagine the boy alone in that space, busy experimenting with an instrument he found. I also really enjoyed the painting process, especially working with the colors, whose aged and slightly desaturated appearance appeals to me. The lute isn’t finished yet, but the piece already captures the atmosphere I wanted to create.

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