Bangkok, Thailand – Internationally acclaimed British artist Tomo Campbell is excited to present Over the Top, an ambitious new exhibition in collaboration with Thailand’s tallest observatory, King Power Mahankhon, Bangkok. Expanding his dynamic practice, Campbell explores the duality of excess—both in material and in metaphor—delving into the sublime and the boundless.

Rooted in his signature expressive layering and instinctive approach to composition, Over the Top is a celebration of painting’s ability to transcend physical and conceptual limits. The exhibition’s title plays on its literal setting at the pinnacle of Bangkok’s majestic skyline, as well as the uninhibited nature of Campbell’s process: a cascade of colours, movement and form that pushes his practice to new heights.

“Over the top is about pushing beyond, exploring the boundless nature of painting in a space that itself feels limitless,” Campbell explains. “It’s about creating without constraint, letting the work expand and evolve into the open space it creates for itself.”

In these new works, Campbell intensifies his exploration of rhythm and repetition, creating compositions that shift between abstraction and figuration, suggestion and erasure. His layered canvases embrace uncertainty, inviting the viewer into a world that is both familiar and elusive. Colours clash and harmonise, forms emerge and dissolve, mirroring the unpredictability of perception itself.

Known for his distinctive approach to storytelling through gesture and tone, Campbell’s work evokes fleeting narratives— processions, hunts and mythic encounters—while resisting fixed interpretations. Much like the tracker figures searching for the unicorn in the medieval tapestry series that Campbell often references, his paintings hint at forms and figures that may or may not be there, leaving the viewer searching for meaning within the layers of paint. The experience of looking becomes an act of pursuit itself, mirroring the way the eye moves across the surface, piecing together fragments of a story that remains just out of reach. The sheer physicality of the paintings echoes their conceptual concerns: the weight of paint, the movement of brushstrokes and the accumulation of visual history on the canvas.

Known for his distinctive approach to storytelling through gesture and tone, Campbell’s work evokes fleeting narratives— processions, hunts and mythic encounters—while resisting fixed interpretations. Much like the tracker figures searching for the unicorn in the medieval tapestry series that Campbell often references, his paintings hint at forms and figures that may or may not be there, leaving the viewer searching for meaning within the layers of paint. The experience of looking becomes an act of pursuit itself, mirroring the way the eye moves across the surface, piecing together fragments of a story that remains just out of reach. The sheer physicality of the paintings echoes their conceptual concerns: the weight of paint, the movement of brushstrokes and the accumulation of visual history on the canvas.