Aspects of time, data and statistics are combined within the context of a singular formation, in order to realise a piece of art that despite its early abstraction, remains both accurate and functionally readable. Here, he questions and challenges perception of environmental space and traditional data sets.

 

Cameron's belief being, that where we can record data, a form of art can, and does, exist within it, waiting to be unearthed via a physical and visual system of creation. 

Variants of scale, shape, material choice and form, surface within his creations, in order to provoke innate characteristics of which that still remain contextually relevant to their source. When working with data sets, he finds that agency is handed from oneself to the pre-existing numerics, resulting in works taking on their own instinctive visual traits.

 

"My current work tends to ironically create itself, and in a way, already exists, only in a non-artistic language. I have found that my place in my current practice, is to translate what exists; into a format which not only results in an intriguing piece of artwork, but as bridge between the gaps of science, mathematics and contemporary art." 

Looking Forward to Looking Back - 2021.jpg

'Looking Forward to Looking Back' 2021

Daggers of a Rose - 2022.jpg

'Daggers of a Rose' 2022

Transitioning Times - 2020.jpg

'Transitioning Times' 2020

Alloy Value Brass - 2020.jpg

'Alloy Value Brass' 2020

From the Ground Up - 2021.jpg

'From the Ground Up' 2021