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Don CameronAlderney, 2020archival pigment print on cotton rag art paper, custom brass with bronze patina frame132 x 132 x 6 cmEdition of 5 + 2 AP -
Don CameronKozara, 2020archival pigment print on cotton rag art paper, custom brass with bronze patina frame132 x 132 x 6 cmEdition of 5 + 2 AP
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Don CameronNeviges, 2020archival pigment print on cotton rag art paper, custom brass with bronze patina frame132 x 132 x 6 cmEdition of 5 + 2 AP
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Don CameronGuernsey, 2020archival pigment print on cotton rag art paper, custom brass with bronze patina frame132 x 132 x 6 cmEdition of 5 + 2 AP
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Don CameronSanski Most, 2020archival pigment print on cotton rag art paper, custom brass with bronze patina frame132 x 132 x 6 cmEdition of 5 + 2 AP
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Don CameronNevers, 2020archival pigment print on cotton rag art paper, custom brass with bronze patina frame132 x 132 x 6 cmEdition of 5 + 2 AP
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Don CameronJersey, 2020archival pigment print on cotton rag art paper, custom brass with bronze patina frame132 x 132 x 6 cmEdition of 5 + 2 AP
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Don CameronPetrova Gora, 2020archival pigment print on cotton rag art paper, custom brass with bronze patina frame132 x 132 x 6 cmEdition of 5 + 2 AP
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Don CameronVienna, 2020archival pigment print on cotton rag art paper, custom brass with bronze patina frame132 x 132 x 6 cmEdition of 5 + 2 AP
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Sustaining a singular aesthetic over the course of twenty years, Don Cameron's series ‘Communion’ observes, selects, interprets and expands the photographic medium to the boundary of sculpture. Through the prism of architecture for memory, sacred structures and primitive survival machines; these three categories of opposite objects have been researched, photographed and curated together—their meanings blurred through framing and obfuscation. Composed like totems sited on the littoral between land, sea and sky–Cameron has rendered these modern architectural relics as pure sculpture in desolate landscapes, isolated from the present; dislocated from the past."I wanted to geographically encounter the journey to these remote and far flung places to experience the sensation of entering into a form of communion with these mysterious concrete forms, and crystallize these emotions as image."At face value the series becomes an autobiographical ritual that describes an alternate travelogue–an action impossible to undertake in the current climate. Moving beyond objective documentation, Cameron uses photography as an artistic and poetic medium to obscure the function and expose the character of each building and explore the similar mental states they encourage—that of protection, salvation and deliverance."The series seeks to convey the feeling of being alone in the world–confronting something mysterious that asks more questions than it provides answers. A mise en scène that exists in subject and setting–that conveys something eternal."The viewer is compelled to experience the aesthetic–the form, mass and texture of these eroded yet enduring structures. Black and white photography graphically etches the buildings against cloudless skies without sentimentality. Cameron transcribes the image as object by controlling all aspects of the finished works–including the design of 3 frame profiles in bronze patinated brass that symbolically tacit each buildings intended function in a coded way."The decision to present the prints un-glazed avoids reflection to amplify immediacy, enabling the viewer to engage directly with the subject as though standing before it."Presenting that which we’ve never seen or experienced but somehow recognize, the series evokes the sensations felt when confronting these elusive structures and crystallizes this emotion as object. These extraordinary works provide fascinating and rare insight into the private obsessions and concerns of Australian director and designer Don Cameron in his first art exhibition.
- © Simon Hewson
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DON CAMERON
ARTIST BIODon Cameron is an Australian director, designer and visual artist. Graduating from central St Martins College of Art, London with 1st Class Honors, his career began as a director of music videos, creating defining works for British recording artists Pet Shop Boys, Garbage and Blur. His filmography has become the subject of exhibitions and in the case of Blur’s ‘Music is my Radar’, archived in the permanent collection of the British Film Institute. Working in the world of material culture has produced a devotion to outcome and a symmetrical high standard of idea and technique.
Cameron’s film oeuvre engages architecture, objects and furniture to compose compelling visual narratives. Crafting unique atmospheres through mise–en–scène has been central to his practice–as has his influences, rooted in the obscure, marginalized and aberrant.
In 2010, Don Cameron’s auteur approach to film crossed mediums to find concrete form in the built environment. Translating knowledge, he approached the design of interiors and objects with a film vocabulary–which endowed spaces with instant histories through his understanding of object and emotion; architecture and memory.
Demonstrating pluralism across creative expression, Cameron’s artistic segue through film, interior, object design and visual art can be described as accumulative–with each change in dimension—4D (moving image) to 3D (real world) to 2D (static image) delivering more than the dimension promises.
In this way, a designed interior becomes an inhabitable narrative–conversely, his 20 year project ‘Communion’ crystallizes time, histories, obsolescence and indifference in a single image. -
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Concrete colossi of war-ravaged Europe captured in black and white
August 4, 2020 A limited-edition collection of photographs by interior designer and collector Don Cameron channels the immense power of the Continent's far-flung Brutalist beauties. Straight out of film school at London’s Central... -
FRIDAY FABULOUS FIVE
August 14, 2020 VIEW The culmination of a 20-year project by designer and filmmaker Don Cameron, ‘Communion’ is a series of arresting black and white portraits of worn and abandoned buildings positioned between...
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DON CAMERON: COMMUNION
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