Cameron May's 'Fabrications (Waves)'

Blogged by: Melbourne Central 16 Mar 2016 View comments
Cameron May
 
Born in Wellington, New Zealand in 1984, Cameron May graduated from RMIT in 2014 with a Bachelor of Arts (Fine Arts). May’s artworks underscore a contemporary world where natural and artificial phenomena are continually melting together. His prints, videos and mechanical sculptures are not the result of photographic traces. They are synthetic abstractions: simulations based on natural observation. May is interested in revealing sublime encounters with immaterial objects, in spaces that fold together the real and the virtual.
 
May’s recent exhibitions include a 2016 solo show at MARS Gallery, New Zealand Arts Festival’s For The Birds program, Wellington’s LUX festival, and a lightbox installation in Knox Lane, Melbourne Central, as part of RMIT’s Lightscapes program. In 2016 his site-based work Fabrication 19095, 11603, – 162888, inspired by images of the planet Mars, was selected for the 26-storey wall of the South Yarra apartment development Yarra House.
 

‘Fabrications (Waves)’
2014. Digital video loop, 5:03 minutes.
 
Cameron May’s artworks underscore a contemporary world where natural and artificial phenomena are continually melting together. His prints, videos and mechanical sculptures are not the result of photographic traces. They are synthetic abstractions: simulations based on natural observation. May is interested in revealing sublime encounters with immaterial objects, in spaces that fold together the real and the virtual. Fabrication (Waves) features a dark looming wave, organic in movement but geometric in structure. Glitches and polygons are laid bare, interrupting the sense of the natural form and motion.
 
 
Natasha Manners
 
Natasha Manners’ present work focuses on people’s connection to or dislocation from place. This follows on from her previous work dealing with the negotiable boundaries between a human and an architectural cohabitation of space. Constantly influenced by the figures of the migrant, refugee, homemaker, traveller and explorer, Manners’ recently produced work makes reference to the phenomenon of developing place.
 
By filming her own interactions with the domestic environment – crawling backwards under an armchair, as in Under Chair, or by pasting rudimentary drawings of domestic features over films, as in Searching – Manners is attempting to re-explore particular spaces by rupturing their perceived narratives. Such acts form part of her attempt to forge more primal connections with parts of her environment, as a way of dealing with her feelings of disconnectedness from both a country she resides in and one she left.

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