Cameron Gray’s work takes its cue from the changing mental space opened by the Internet. Using the Boschian ethos of putting us on the brink of oversaturation, his work incorporates everything from relational aesthetics, 1960s Conceptual practices, performance, video, sculpture, memes, history, 1990s Internet Boom theories, Instagram, juice cleanses, antiquity, and Jean-Francois Lyotard’s 1979 predictions of the Postmodern Condition and the end of grand narratives. Encouraging engagement with his work through user-friendliness and recognizable visual cues culled from current civilization, Cameron’s work comments on the discomfort felt about the culture of ‘sharing’ we live in by mimicking or confronting the way we consume and digest images in the digital Internet age. With an uncanny knack for reflecting then re-contextualizing our narcissistic tendencies of taking selfies, binge-watching reality shows, and obsessing over celebrities, Cameron’s work crisscrosses and bisects our natural predilection to categorize. Whether walking through his ‘tunnel of transformation’ filled with a video linearly 9 stories tall on over 50 TV screens, or viewing his marble works featuring found GIFs alluding to other dimensions and the vast amount of information not yet discovered, we can’t help but marvel at the madness we’ve created, or perhaps what the future may hold.
Cameron Gray lives and works in California. His motto is “Paypal is the vehicle for my transcendence,” and he can only be reached via beeper where he will collect call you back from the nearest pay phone. He has had solo exhibitions in New York, Paris, and California and has been included in group exhibitions at the Institute of Contemporary Art (London), the Santa Monica Museum of Art (California), among many others. Select permanent collections include the collections of Julia Roberts, Gwen Stefani, and Tommy Hilfiger, as well as museums such as the Dafen Art Museum (Guangdong, China), and the Flint Institute of Arts (Flint, Michigan). His art has been featured on the cover of ARTnews and in The Huffington Post, Artforum’s Critic Picks, Paper Magazine, Purple, Vice, BlackBook, and Art F City among others.