Eric Cameron

Alarm Clock (3295) (de la série « Thick Paintings », 1979 - 1994), 1979-1994

© Eric Cameron • Photo: Richard-Max Tremblay

Eric Cameron, Alarm Clock (3295) (de la série « Thick Paintings », 1979 - 1994), © Eric Cameron • Photo: Richard-Max Tremblay
Artist
Eric Cameron
Title
Alarm Clock (3295) (de la série « Thick Paintings », 1979 - 1994)
Dimensions and medium
3295 acrylic coats on an alarm clock, 43 × 46 × 17 cm
Artwork description
At the end of the 1970s, Eric Cameron began covering everyday objects with successive layers of acrylic paint. He committed himself to pursuing this rigorous process until specific circumstances, such as a museum purchasing the work, would prevent him from continuing. Cameron named this body of work Think Paintings. The painted objects, in alternating coats of grey and white, undergo a slow, gradual mutation as they transform themselves into strangely shaped, organic-looking sculptures. Alarm Clock (3295), whose title documents the total number of half-coats of acrylic primer applied to an alarm clock over a fifteen year period, is characterized by subtle undulations in the painted surface that developed over time and the verticality that differentiates it from other works in this series. Primarily conceptual, the piece questions the genesis of an artwork while challenging the parameters that confer the status of sculpture to an object.

See Also

Ciboulette, 1968, Light panel (neon tubes).
Jacques Hurtubise, Ciboulette, 1968 Ciboulette, 1968, Light panel (neon tubes).
<em>Contact: When Odd Gets Even</em>, 2002 of Contact: When Odd Gets Even, 2002, Seed beads, thread, and canvas.
Nadia Myre, Contact: When Odd Gets Even, 2002 Contact: When Odd Gets Even, 2002 of Contact: When Odd Gets Even, 2002, Seed beads, thread, and canvas.
Marine Saint-Jean-Port-Joli 2, 2001, Plastic bottles and staples.
Jérôme Fortin, Marine Saint-Jean-Port-Joli 2, 2001 Marine Saint-Jean-Port-Joli 2, 2001, Plastic bottles and staples.
In the Street (Tom), 1989, Photograph laminated on canvas, acrylic, and ink monotype on canvas.
Ian Wallace, In the Street (Tom), 1989 In the Street (Tom), 1989, Photograph laminated on canvas, acrylic, and ink monotype on canvas.
Tarpaulin No. 2, 1974-1975, Gesso and crayon on tarpaulin, rope, metal wire, grommets, and steel tube.
Betty Goodwin, Tarpaulin No. 2, 1974-1975 Tarpaulin No. 2, 1974-1975, Gesso and crayon on tarpaulin, rope, metal wire, grommets, and steel tube.
Sans titre, 1982, Various materials and found objects.
Jannis Kounellis, Sans titre, 1982 Sans titre, 1982, Various materials and found objects.
Implications of White, 1984-1985, Oil, plaster, metal, cement, and wax on wood.
Louis Comtois, Implications of White, 1984-1985 Implications of White, 1984-1985, Oil, plaster, metal, cement, and wax on wood.
Affections, 1993, Various materials.
Serge Murphy, Affections, 1993 Affections, 1993, Various materials.
The Density of Notion, 1986, Iron, ashes, metal wire, and egg tempera on cardboard, 2 elements.
Pieter Laurens Mol, The Density of Notion, 1986 The Density of Notion, 1986, Iron, ashes, metal wire, and egg tempera on cardboard, 2 elements.
Violator, 2015, Wool, plastic, polymerized gypsum, cellophane, and stickers.
Liz Magor, Violator, 2015 Violator, 2015, Wool, plastic, polymerized gypsum, cellophane, and stickers.
Revisited Vocabulary Lesson, 1991, Oil on canvas cut and mounted on chiselled foamboard.
Larry Rivers, Revisited Vocabulary Lesson, 1991 Revisited Vocabulary Lesson, 1991, Oil on canvas cut and mounted on chiselled foamboard.
Cold Heaven, 1983-1984, Gold leaf on plywood and black and white framed photograph.
Robert Longo, Cold Heaven, 1983-1984 Cold Heaven, 1983-1984, Gold leaf on plywood and black and white framed photograph.
Eclipsing the Past, Present and Future, 2008, Ink on reflective material and Shoji paper.
Ed Pien, Eclipsing the Past, Present and Future, 2008 Eclipsing the Past, Present and Future, 2008, Ink on reflective material and Shoji paper.
Carton II, 2006, Polymerized gypsum, cigarettes, cigars, chewing gums, cigarrette packs,and matches, 1/2.
Liz Magor, Carton II, 2006 Carton II, 2006, Polymerized gypsum, cigarettes, cigars, chewing gums, cigarrette packs,and matches, 1/2.
Box #4, 1962, Collage of various materials.
Charles Gagnon, Boîte n° 4, 1962 Box #4, 1962, Collage of various materials.
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