Several important works as ceramics of the early Seventies are in private collections and museums, such as the Victoria and Albert Museum in London. Her works spontaneously call to mind the famous sculptures of Auguste Rodin depicting poet Honoré de Balzac in his absurd and inimitable genius, reminding us of Man’s psychological complexity and his peaks and chasms.

Manche Skulptur ist im Zustand des Torso belassen, ja Estella Campavias hat ihnen sogar den Titel des „Torso“ gegeben. Der Torso ist ja nicht etwa eine verstümmelte Figur, wie man in Anlehnung an die Venus von Milo glauben möchte. Ein Torso ist eine bewusst gestaltete Form, bei der die Künstlerin bewusst alles weglässt, was nicht unbedingt notwendig ist. Ein Torso bedeutet somit die Konzentration auf das Wesentliche. Wie sagte doch Max Liebermann: „Kunst heisst Weglassen“.

Ses statues nauront ni bras, ni jambes, nie pieds, ni traits au visage. - Elles auront un cou important, un dos, une structure. Rien qui individualise, (et en distinguant, isole). Le visage, la face des ses statues est simple comme un disque partfois, ou lisse comme un galet érodé par la mer. Geneviève Couteau

Estella Campavias (1918-1990)

Estella Campavias was a cosmopolitan. Of Spanish origin, brought up in Turkey, she lived the mundane life of a diplomat's wife in several countries before turning to art seriously 50 years ago, first as a ceramicist. With little formal training — and disregarding much of that — she soon achieved international fame for her highly individual and technically fascinating ceramics, as the list of collections and exhibitions shows.

Later - now living in a small English village and working in an 11th Century crypt - Estella Campavias had turned to sculpture (with as little formal training as before) and, through her instinctive affinity between spirit, hand and clay, was fast becoming recognised as a sculptor of major international stature.