2009 Yoni Portraits (hardcover and electronic editions)
2005 8 Yoni drawings (color) in The Vagina Book (Dutch) by Goedele Liekens,
2002 Cover illustration for the Swedish book Orgasmera mera
2001 Large color illustration for Playboy (Dutch edition), December issue
1999 2 large color drawings and 18 small B/W ones in The Encyclopedia of Sacred Sexuality
1997 1 Yoni drawing (color) in Return of the Tribal: A Celebration of Body Adornment
1996 More than 10 drawings (some in color) in The Yoni: Sacred Symbol of Female Creative Power
1996 24 drawings in the book Pregnancy Yoga (Dutch) by Annemarie Bokma
1995 Yoni drawing in Marie Claire (Dutch edition) July 95, page 48 (color)
1994 Yoni drawings in Bres magazine #166, June/July 94, pages 42 and 49
1990 + Various book covers and illustrations for Dutch books
1991 Several drawings (B/W) in The Encyclopedia of Erotic Wisdom
1990 10 B/W drawings and 1 color cover for the Small Vegetarian Dictionary (Dutch)
Friday, December 4, 2009
Saturday, November 21, 2009
Why Color Pencil?
Ever since 1978, when I began studying at a school for art and illustration in Amsterdam, I’ve tried my hand at the various techniques ranging from ink to pencil, oil to acrylic, charcoal to watercolor. However, I finally found that soft color pencils were the medium most suited to my work, fitting the quietude and patience I bring to it.
Soon, I owned all the shades of colors available from the major houses who produce quality pencils, and the ones I most prefer are those called aquarelle pencils. Not that I often do mix them with a drop of water, but their softness, viscosity and consistency are a pleasure to work with — especially on just the right paper.
The choice of paper is almost of equal importance to that of the pencils I use, because all papers have their very own capabilities, their pro’s and con’s. This is also the very reason I have chosen the unique type of paper this book is printed on. It is known by the name GardaPat 13 Classico, produced in Italy, and both its very subtle rose hue and its silken softness make it come close to the paper I actually used for my originals. I also think it’s a very tactile paper, pleasing to the touch.
But let’s return to my pencils. When I begin a drawing, I start off with the lighter colors, covering large areas of paper to create a basic tone of soft skin. Days later, the shape of a Yoni or flower begins to emerge when I add layers and layers of various shades of pink and rose, yellow and violet — there are way more colors than we have names for.
Next to the paper I’m working on, all my pencils are usually spread out on the table, arranged by color and hue, starting with the deep red of blood and ending with the palest available rosy pink and the lightest ivory shade that reminds one of the soft flesh hidden within the hard shell of an oyster. There are browns as well, yellows and violets. There’s Royal Purple, Lavender Blush and Old Lace, Misty Rose and Light Coral.
However, to create the multitude of colors displayed by the Yoni, her lips and her clitoris, no single one of these colors will do. They have to be mixed and mingled, one on top of the other in a process that never seems to come to an end — until I realize at a given moment that all is well, that my drawing reflects the Yoni of that particular woman as well as it can.
This description more or less sums up how each of the intimate portraits in this book came into being.
Christina Camphausen
Soon, I owned all the shades of colors available from the major houses who produce quality pencils, and the ones I most prefer are those called aquarelle pencils. Not that I often do mix them with a drop of water, but their softness, viscosity and consistency are a pleasure to work with — especially on just the right paper.
The choice of paper is almost of equal importance to that of the pencils I use, because all papers have their very own capabilities, their pro’s and con’s. This is also the very reason I have chosen the unique type of paper this book is printed on. It is known by the name GardaPat 13 Classico, produced in Italy, and both its very subtle rose hue and its silken softness make it come close to the paper I actually used for my originals. I also think it’s a very tactile paper, pleasing to the touch.But let’s return to my pencils. When I begin a drawing, I start off with the lighter colors, covering large areas of paper to create a basic tone of soft skin. Days later, the shape of a Yoni or flower begins to emerge when I add layers and layers of various shades of pink and rose, yellow and violet — there are way more colors than we have names for.
Next to the paper I’m working on, all my pencils are usually spread out on the table, arranged by color and hue, starting with the deep red of blood and ending with the palest available rosy pink and the lightest ivory shade that reminds one of the soft flesh hidden within the hard shell of an oyster. There are browns as well, yellows and violets. There’s Royal Purple, Lavender Blush and Old Lace, Misty Rose and Light Coral.
However, to create the multitude of colors displayed by the Yoni, her lips and her clitoris, no single one of these colors will do. They have to be mixed and mingled, one on top of the other in a process that never seems to come to an end — until I realize at a given moment that all is well, that my drawing reflects the Yoni of that particular woman as well as it can.
This description more or less sums up how each of the intimate portraits in this book came into being.
Christina Camphausen
Comments on Christina's Intimate Art
The title of this drawing is Ivory Gate, based on the many Chinese terms for the yoni, which often include gate: Jade Gate, Golden Gate, Dark Gate, Mysterious Gate or Gate of Jewels.The drawing is from 2003 and was made after a photograph, sent to the artist by the model.
Below are three comments written by another of Christina's models - and by two aficionados of her work:
Firstly, let me tell you how much I enjoy your yoni images. It's great work and you are to be commended not only for your artistic talents and vision, but also for what you are doing to further openness and exploration in women's sexuality.
- Allen Pierson, male
After seeing your beautiful artwork I felt renewed - overjoyed that someone could love the Peerless Palace as much as I do. I feel that your art captures something essential about the beauty of the yoni that photographs never could. Thank you for sharing your unique vision.
- Amanda Gannon, female
Your art is so beautiful!! I enjoyed looking at your work so much. It is creative, artistic, sensual, inspiring, and empowering.
- Phyllis Lovell, female
Friday, November 20, 2009
Electronic (PDF) Edition
We do recognize that the print edition of this unique book is rather expensive - especially for non-Euro countries. It can't be helped, printing a book without an established publisher and financing all of it by ourselves - a hardcover publication on superb paper simply is expensive.
That's the very reason why we've decided to make an electronic (and way cheaper) version available for all those who love the art, appreciate the idea - or want to see what they get (WYSIWYG) if and when they order the real thing.
Go to the artist's website to find out more.
That's the very reason why we've decided to make an electronic (and way cheaper) version available for all those who love the art, appreciate the idea - or want to see what they get (WYSIWYG) if and when they order the real thing.
Go to the artist's website to find out more.
Wednesday, November 11, 2009
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