In the early 1980s, Camilla picked up her pencil again, which she had used during her time at the Brera Academy, and started with what she needed most: reality. ‘And nothing was more real and complex than a human head.’
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So she began to portray the people close to her, her ‘intellectual friends’. She portrayed about fifteen artists, philosophers and writers, men whom Camilla sought to capture in her photographic memory, collecting their laughter, conversations, confidences, moods and anxieties in the simplicity of moments spent together.