Today is a special treat. We want to show off the amazing crazy person that is Cameron Logue. When I first met Cameron it was in my first art class peeking over into his sketchbook. It took a whole millisecond to realized I was standing in the presence of a figurative master. And in the best description I can give of Cameron is that he is a guy that puts lots of thought behind sketches. He fills sketchbooks with super fine pencil drawings and will take a single character and illustrate it in different styles, with variations on accessories, positions, and etc.. I am amazed how he can take cartoonish culture and turn it into pieces that have crazy depth.
Cameron grew up watching Saturday morning cartoons and using them as his church. They taught him moral values, lifted his spirits, and instigated ritual worship over toys, breakfast cereals, and other merchandise. He lacked a regular religious upbringing, and whether he was aware of it or not, he found ways to fill this void throughout my life with comics, animation, and toys. These sources now influence his art to various degrees, as I attempt to resolve my spiritual needs with the superficiality of modern entertainment. His paintings feature bright colors, distorted cartoon idols, and abstract patterns which suggest the movement of the cosmos seen through a sugar-rush. He values the weird, the grotesque, and the impossible human desire of the mind to be free from the body. The subjects of his work become avatars of these qualities which have consumed humanity throughout history, but have taken on new dimensions in our plastic age.
Cartoons and video games that you get fed as a kid… To me, it had not really hit that it was merchandise yet, that there was any ulterior motive behind it. They were just there and they were magic. It was some sort of divine message. As a kid, I did not believe in one thing, I believed in everything. I did not grow up going to church, [although] I had been to church a few times, so without that kind of a background, stories from the bible were another one of these things. It was not like I thought I would get Superman knocking at my door or something, but it was easy for me to imagine the possibility that this stuff existed somewhere, even if I would never see it.
It was always really idealistic but as you grow older you start to face really dark material – real word things like mortality, old age, sickness and death. It became just another different kind of fascination, because it was something that was unsettling to me. That became a period of my life where I tried to find more serious spiritual substances… The fact is that this is what I am, this is reality and horrible things can and do happen.
In the art I do now I try and find a mix of darker things because I find approaching everything with that complete childlike abandonment, sugar rush superficiality comes off as a little false, because it’s not who I am anymore. I am trying to integrate more of my complete person by integrating it with what I got now.
Eric Piper is a southwest artist with punk, occult, and existentialist roots. Working with mediums ranging from bronze, cardboard, fabric, to spray paint, blood, oils and found trash. Concepts span from “creating black-holes in the audiences subconcious persona” to the tragedy of not having enough money for cigarettes. Trying to pull all the words and preconceived ideas we as humans have about ourselves and the world away from it, allow us to stare into the chaos and meaninglessness of the universe, reapply meaning, and connect passionately with the the everything. Useless and absolutely necessary.
Friday the 13th, July 13th 6-10pm
During LIVE on the Plaza!
1701 NW 16th St
Oklahoma City, OK 73106
Where are you from?
I grew up all over the place. Actually, I was born in Texas and dad was in the military so we moved around for a while, but the longest part of my childhood was spent inside Lawton, Oklahoma.
Home much does being an Okie influence your work?
I think Oklahoma has a huge influence on all the work I produced. It’s really interesting, because it’s got so much potential, and we’re located in an amazing spot. Everybody is open to these creative ideas we’re making, and the important thing is to stay up to date with what contemporary artists are doing, what contemporary anything, I mean, music is also a huge thing.So, if you’re looking out there, and you’re bringing it here, there’s awesome potential.
What kind of art do you associate with?
I like to look at myself as just really everything. Right now, recently, I’ve been really into printmaking, but sculpture has a deep warm place inside my heart. I love DIY anything, I think that would be kind of the core of my favorite aesthetic: taking stuff and putting it together with any mean that I have. With cardboard and gold spray paint, you can do insanely badass, you can do anything with the materials around you.
Can you describe your studio space?
Dude, my studio space is like my cavern of creativity. I love it. I feel more attached to the studio space than I do my house. I feel more at home inside of it. To cover up the walls with whatever you want to – extremely important inside my creative process.Just submerging myself with things that I look up to and admire and things that I kind of detest that will kind of pull at me in those certain ways, too.
I think as an artist, anybody as an artist, that’s more of our job, because we’re able to filter the raw information that we’re given and interpret it however we want to. And so we’re kind of this connection between the outside world and our inside world and then kind of spitting it back out so we can see how we refract all the information that goes through us.
How do you feel about combining printmaking and sculpture?
I think the less rules I put on myself, the easier it is for me to make work. If I go into a project and I think I’m going to combine these two things or I’m not going to combine them, then it kind of limits me as I go through. I rather approach it and just start building something and then whenever it pops into my head, it’s like “Oh, dude, I can cover this in prints and it would look radical that way,” then I’m going to go and cover it in prints. Just leaving it open, I think that works the best for me.