Gallery News Page/Press Releases
Cameron Gray
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Thrilled to Death, 2009 oil paint on 4 x 4 inch wood panels glued on panel
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Autobiographical Tree, 2009 83 x 127 inches. Oil on wood and paper, glued to wood, glued to panel
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Nature and the Natural, 2009 61.5 x 53 inches Oil on wood tiles glued to panel
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Organic Pork,
2009 Oil on wood tiles glued to panel 53 x 63 inches |
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Vanessa Prager,
2009 62 x 53 inches Oil on wood tiles glued to panel |
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Abstract Love Poem Oil on multiple wood panels CG 1
sold |
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All That Wanting 2008 Oil on multiple wood panels 53 ½ x 53 ½ inches CG 2 sold
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Oops…I did it again 2007 Oil on multiple wood panels 71 ¾ x 61 ½ inches CG 3 sold
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Carl Hammer Gallery is pleased to present an exceptional solo exhibition by California artist, Cameron Gray. In this, Cameron Gray’s most recent body of work, he addresses politics, religion, ideology, nature, commerce, media and the human propensity for violence with a set of "paintings" that are painstaking assemblages of credit card size mini-tableaux, cleverly put together to form portraits.. He does this by employing a most unique method of digital, network manufacturing. His work begins as digital studies, which are divided into hundreds of small pieces and then sent out to a group of artists composed of personal associates, professional colleagues and Internet correspondents. By breaking the painting down into a grid of pixels and outsourcing the work, Gray builds a virtual factory by way of the Internet. Each painting is comprised of several smaller paintings. The smaller images used are thematic and play a vital role in the depiction of the larger image. |
Cameron Gray
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1974
Born , Los Angeles, California
Lives and works in Los Angeles
Education
California State University, San Diego
Solo Exhibitions
2009
Galerie Rive Guache, Paris, France (forthcoming)
Carl Hammer Gallery, Chicago, Illinois
2008
“We're all Doomed” Robert Berman Gallery, Santa Monica, California
2007
“Mise en Scene” Robert Berman Galley, Santa Monica, California
Group Exhibitions
2008
“PULSE” New York. With the Carl Hammer Gallery
“Art Chicago” With the Carl Hammer Gallery
“Incognito” Santa Monica Museum of Art
“Steinweiss” Robert Berman Gallery, Santa Monica, California
“Show & Tell: Art of Vision” Zimmer Children's Museum, Los Angeles
“Sideshow” Curated by Brad Benedict, Robert Berman Gallery
Venice Art Walk, Venice, California
“Light of Hope” Bergamot Station, Santa Monica
“Politico” Robert Berman Gallery, Santa Monica, California (forthcoming)
2007
Venice Anti-Artwalk, Venice, California
Bibliography
“We're all Doomed” catalog, Robert Berman Gallery, July, 2008
“Mise en Scene” catalog, Robert Berman Gallery, October, 2007
Happy Magazine, “The Art of Cameron Gray”, April 2007, cover page and pp.111-120
Devine Color Magazine, March 2007, cover page
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Born 1974 in Anaheim, California. Camron Gray lives and works in Los Angeles. Prior to his entrance into the L.A. art scene, Gray owned his own animation studio and worked as an Animation Director for films like Apocalypto, Underworld: Evolution, Sky Captain and the World of Tomorrow and multiple videos for the band, Tool. Gray has been working on this series of paintings for the past two years. His work begins as digital studies, which are divided into hundreds of small pieces and then sent out to a group of artists composed of personal associates, professional colleagues and Internet correspondents. By breaking the painting down into a grid of pixels and outsourcing the work, Gray builds a virtual factory by way of the Internet. This modern approach is used to create the appearance of a traditional oil painting. Like photo mosaics, these paintings exist on two visual levels. Each painting is comprised of several smaller paintings. These secondary paintings of hamburgers, french fries, traffic and smog combine to form larger compositions. Subject matter ranges from portraits of Jesus, Phil Spector, Shepard Fairy and Brittney Spears to landscapes, bomb flares, and vegetables. The smaller images used are thematic and play a vital role in the depiction of the larger image. Through issues of perception, Gray addresses politics, religion, ideology, nature, commerce, media and our propensity for violence.
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