One of One by Cam Scott
One of the most gratifying things as a creative is seeing other creative’s succeed. It’s important to feel like there is community support for young alternative talent. It was more than apparent at Cam Scotts first solo exhibition that he has garnered quite a following – a well deserved one at that. As I strolled around the Work Shop, Redfern I was amazed. The space was transformed into a stunning gallery – repurposed, revitalized and relevant. Cam Scott had somehow breathed his own, very unique take on life and art into the space he was showing – a calculated accident of personification. As I sipped on my Patron Margarita and swayed from piece to piece I found it difficult to find flaw in the exhibition. Cam has taken influence from the urban and the found and has devised a way to craft stunningly polished pieces of art.
The space was packed with the most fitting of audience. The exact demographic was hard to pin down – age was varied, gender was about equal. However, it was very clear that those in attendance were tastemakers. A rare cross section of switched on Sydney youth camouflaged in and amongst an older more established guard of artistic gatekeepers - interesting and interested. The repurposed warehouse was bursting with tangible signs of a good time – laughter, sloshing drinks and bisous.
Yet while ever so polished, the exhibition was also ever so earnest – proven by the hilarious self effacing selfie stencil - a photo of Cam taking a selfie as a stenciled tag followed by the cheeky little piece of type “Tags Are The Worst.” This multifaceted example of intertextuality is one of many examples in Cam Scott’s work that constructs an unwittingly genius comment on youth culture and the perceived self. Cam Scott – whether intended or not – has crafted a series of pieces - both advertently and inadvertently – exploring identity.
My favourite piece on display was “New Manon” an explorative portrait of his statuesque partner – Manon. Undeniably beautiful, she takes on a new context as her face is stencilled over with train track maps. One of the main textiles used in the exhibition was mirrors – with every piece you engaged with you were forced to also engage with yourself. It brought a new level of consciousness to your thoughts about pieces and new perspective of self-awareness. It is unsurprising that Cam – at such a young, formative stage in his artistic endeavor – is answering questions of identity, consciousness and self-perception through his art. Unsurprising, yet still so unique and powerful.
I stood with my plus one admiring one of the many engaging pieces. I turned to him - “this is amazing.” He agreed. I clocked only a moment later that my plus one was fixated on something completely different – in fact a furnishing that I had neglected to acknowledge as part of the exhibition. It made sense though. It had a very clear stamp of artistry. Whether a piece of stencil art, a product of “refurniching” or a projected piece of film – there was an undeniable and unquestionably palpable unified vein of a vision.
One of One by Cam Scott was like no other exhibition I have been to before. No pretense, just good sense.