We are pleased to welcome Cameron Gray back to Carl Hammer Gallery for his second solo appearance where he continues to demonstrate a highly spiritual connection to the internet. Still employing, yet perfecting his renowned, radical, digital network manufacturing procedure, Gray breaks a painting down into a grid of pixels and, outsourcing the work, employs a virtual factory of painters made up of personal associates, professional colleagues and Internet correspondents. Meticulously, he then retouches each of the hundreds of small 2 x 3 inch wood tiles returned to him, assembling them into large scale compositions. In the end, each large painting is comprised of many smaller paintings, and are, themselves, thematic to the whole, playing a vital role in the depiction of the larger image. The juxtaposition, of sorts, from small painting to large image, from eclectic image to eclectic image, is akin to the poet’s creation of a visual haiku poem, a creation of order out of chaos and randomness.
In this most recent body of work, Cameron Gray specifically addresses a kind of new “American Pop” age of art production. His muses are the iconic names of the sixties who realized the tremendous opportunities of their everyday surroundings in the creation of new art subject matter. Warhol, Lichtenstein, Johns, Wesselmann, each is re-interpreted by Gray’s process. His attention to them freely borrows and reproduces notable examples of their work, while also subjecting them to a transformation ala Cameron Gray. Perhaps the most symbolic of those artists he chose as subjects, Andy Warhol stands as having the most profound synchronicity to this body of work. For it was Warhol who appropriately dubbed his own studio “The Factory”. Like Warhol in striving to underscore the mechanical nature of the process, Gray’s work is decisively more emblematic of the 21st century, reshaping the Warholian factory for today’s digital age.