US military body transfer cases, aluminum, flicker bulbs, electrical wiring, conveyor belt, pewter, chain, pulleys, aircraft cable, hardware
dimensions variable
installation view, The Milk of Dreams, 59th International Art Exhibition, La Biennale di Venezia, Venice
US military body transfer cases, aluminum, flicker bulbs, electrical wiring, conveyor belt, pewter, chain, pulleys, aircraft cable, hardware
dimensions variable
installation view, The Milk of Dreams, 59th International Art Exhibition, La Biennale di Venezia, Venice
US military body transfer cases, aluminum, flicker bulbs, electrical wiring, conveyor belt, pewter, chain, pulleys, aircraft cable, hardware
dimensions variable
installation view, The Milk of Dreams, 59th International Art Exhibition, La Biennale di Venezia, Venice
concrete textile, funerary backdrop stand, neon tubing, transformers, spot lights, silk gauze
85.5 x 112 x 24 in
217 x 284.5 x 61 cm
installation view, The Milk of Dreams, 59th International Art Exhibition, La Biennale di Venezia, Venice
concrete textile, funerary backdrop stand, neon tubing, transformers, spot lights, silk gauze
85.5 x 112 x 24 in
217 x 284.5 x 61 cm
installation view, The Milk of Dreams, 59th International Art Exhibition, La Biennale di Venezia, Venice
concrete, liquid candles, glass, stainless steel, leather, neon
45.5 x 32 x 31 in
115.5 x 81.5 x 79 cm
installation view, strings that show the wind, JTT, New York
“A pair of stainless steel trolleys once used to transport chemical barrels now carry twin drapes of rubber-backed concrete cloth. They spiral upward as in a wringing vortex, with a bright serpentine outline created at their edge by neon tubes. Mobile yet substantiated by weight, the hollow centers formed by the fabric are set with cast glass lenses once intended for a homemade telescope, handmade by the artist’s father. Tucked behind, polished concrete hemispheres hold a tetrad of liquid candles. Wheels, lenses, and half-globes, permit the potentialities of each of these elements to tilt, rotate, and spin. The technological shifts suggested in this neon/candle dichotomy do not propose a compromise, however, but rather an acknowledgement of our desire in time-sensing, and of time-being. In outer space, we have been measuring distance with the speed of light.”
— Jo-ey Tang
strings that show the wind, press release
concrete, liquid candles, glass, stainless steel, leather, neon
45.5 x 32 x 31 in
115.5 x 81.5 x 79 cm
installation view, strings that show the wind, JTT, New York
concrete, liquid candles, glass, stainless steel, leather, neon
45.5 x 32 x 31 in
115.5 x 81.5 x 79 cm
installation view, strings that show the wind, JTT, New York
“These works are composed of eight pendent and connected sections of stainless steel chainmail that form two vertical scrolls, held in place by a pulley system and heavy pieces of polished fluorite on trolleys. Attached to each chainmail section is a pewter disc, casts of mass-produced centrifugal rubber molds, commonly used in the production of cheap metal jewelry and trinkets. As cast, rune charms, angels, flower chains are spun together all the same. They recall trace fossils, those permanent fleeting pigeon feet and dog paws in cement sidewalks, or oversized ex-votos. Grafting a presence and relationship between materials and objects, the mechanisms map out coordinates in space as an action and a specter for the potential multiple.”
— Jo-ey Tang
strings that show the wind, press release
stainless steel, pewter, leather, fluorite
dimensions variable
installation view, strings that show the wind, JTT, New York
stainless steel, pewter, leather, fluorite
dimensions variable
installation view, strings that show the wind, JTT, New York
steel, concrete, aircraft cable, decommissioned S-250/G military shelter
installation view, Outlooks: Elaine Cameron-Weir, Storm King, New York
“Elaine Cameron-Weir’s work, titled A toothless grin. A STAR EXPANSION! GLOBE OF DEATH A graveyard orbit, is the result of both associative thinking and a research-driven artistic process. Her project for Storm King Art Center is inspired by the hollow spherical cages used for trick motorcycle riding—so-called globes of death. At twenty feet in diameter, and surrounded by wide fields, Cameron-Weir’s steel sphere also resembles other real and imagined structures of the present and extrapolated future, such as radio transmission towers, satellites, and other large-scale devices related to space exploration and scientific inquiry. The sphere is accompanied by a small, white military-style shelter from which a soldier might keep watch. Both the sphere and the shelter were designed to accommodate a person or people: several stunt riders can simultaneously circle each other within the tight inner orbit of the sphere, and the shelter, which fits into the bed of a pick-up truck, can house a reclining figure. While each element suggests a kind of real-world functionality, when viewed in the context of Storm King’s collection they also ask to be seen for their similarity to large-scale abstract sculpture.”
— Nora Lawrence,
Outlooks: Elaine Cameron-Weir, Curator, Storm King Art Center
steel, concrete, aircraft cable, decommissioned S-250/G military shelter
installation view, Outlooks: Elaine Cameron-Weir, Storm King, New York
steel, concrete, aircraft cable, decommissioned S-250/G military shelter
installation view, Outlooks: Elaine Cameron-Weir, Storm King, New York
'The work essentially comes out of a road trip that I took two summers ago. I don’t tend to put anything biographical in my work so it’s weird for me to talk about this. It was the middle of July. I was by myself, and it was really hot. I drove from Red Deer, Alberta, where I’m from, to Southern California. I’ve always wanted to drive down through that landscape, directly south to LA, then back up the Pacific Coast Highway, and then over through the Rocky Mountains in Canada, back to Red Deer.
'I went through Utah to see Nancy Holt’s Sun Tunnels—an amazing piece. When I was there, I noticed that there were these weird black marks inside the sculptures. They looked too fat and too regular to be from a BMX bike, so I thought maybe they were made by motorcycles. These marks were in all of the tunnels, and I just started thinking about this terrestrial orbit in relation to celestial orbit, because the tunnels, these four large concrete cylinders in a cross pattern, are arranged to be aligned with the summer and winter solstices.
'I think of my work as a system of inquiry related to science—an experiment with parameters and results that are applicable beyond the work itself. The idea that you can model the universe in a tabletop experiment is, to me, deeply related to art because art can model something that is so far beyond itself.
— Elaine Cameron-Weir
Artforum, July 31, 2018
“For viscera has questions about itself, Cameron-Weir presents a series of new works that incorporate typical laboratory implements like metal barrels, rods, clamps, and fabric heating mantles, which collectively establish a mood of observation and inquiry. The voids emphasized by the installation’s other works, which include a suspended 'jacket' and 'skin,' in turn suggest phenomena or forces that seem to escape scientific explanation. While Cameron-Weir’s new sculptures are informed by her study of historical objects made to protect, punish, or stand in for bodies—medieval armor or torture devices, and early-Renaissance orthopedics—they also reflect her interests in aspects of evolutionary design, such as corporal symmetry and the possibility of biological systems that harbor intelligence and self-awareness. In this sense, the exhibition’s enigmatic title alludes to potential forms of knowledge or intelligence that are intrinsic to the body but independent of the mind.”
— Natalie Bell
viscera has questions about itself, Curator, New Museum
stainless steel, aluminum, pewter, hardware, rawhide, sandbags
66 x 44.5 x 2 in
167.5 x 113 x 5 cm
installation view, viscera has questions about itself, New Museum, New York
stainless steel, aluminum, pewter, hardware, rawhide, sandbags
66 x 44.5 x 2 in
167.5 x 113 x 5 cm
installation view, viscera has questions about itself, New Museum, New York
left: stainless steel, laboratory hardware, neon, transformer, parachute silk
right: stainless steel, dental phantom, rawhide, laboratory hardware, heating mantle, transformer, glass, labdanum resin
74 x 15 x 11 in each
188 x 38 x 28 cm each
installation view, viscera has questions about itself, New Museum, New York
left: stainless steel, laboratory hardware, neon, transformer, parachute silk
right: stainless steel, dental phantom, rawhide, laboratory hardware, heating mantle, transformer, glass, labdanum resin
74 x 15 x 11 in each
188 x 38 x 28 cm each
installation view, viscera has questions about itself, New Museum, New York
left: stainless steel, laboratory hardware, neon, transformer, parachute silk
right: stainless steel, dental phantom, rawhide, laboratory hardware, heating mantle, transformer, glass, labdanum resin
74 x 15 x 11 in each
188 x 38 x 28 cm each
installation view, viscera has questions about itself, New Museum, New York
left: stainless steel, laboratory hardware, neon, transformer, parachute silk
right: stainless steel, dental phantom, rawhide, laboratory hardware, heating mantle, transformer, glass, labdanum resin
74 x 15 x 11 in each
188 x 38 x 28 cm each
installation view, viscera has questions about itself, New Museum, New York
lead, sand, heating mantles, transformers, pewter, stainless steel, nickel silver, labdanum resin
6 x 74 x 15 in
15 x 188 x 38 cm
installation view, viscera has questions about itself, New Museum, New York
“Since her earliest works, Cameron-Weir has drawn inspiration from the figure of the aesthete in late nineteenth-century Europe as a paragon of refined sensitivity to beauty, heightened sensory engagement, transgressive sexual desire, and the pursuit of pleasure through artifice or illusion. Intrigued by how many artists of that period pursued correspondences between senses, Cameron-Weir often introduces particular scents to her installations in the form of naturally aromatic resins like frankincense, myrrh, or labdanum—all of which have been used in a range of spiritual, medicinal, and funerary practices that trace back to the earliest civilizations.”
— Natalie Bell
viscera has questions about itself, Curator, New Museum
lead, sand, heating mantles, transformers, pewter, stainless steel, nickel silver, labdanum resin
6 x 74 x 15 in
15 x 188 x 38 cm
installation view, viscera has questions about itself, New Museum, New York
copper, enamel, stainless steel, sandbag
168 x 14.5 x 1 in
426.5 x 37 x 2.5 cm
installation view, viscera has questions about itself, New Museum, New York
copper, enamel, stainless steel, sandbag
168 x 14.5 x 1 inches
426.5 x 37 x 2.5 cm
installation view, viscera has questions about itself, New Museum, New York
pewter, stainless steel, leather, sandbags
60.5 x 44.5 x 8 in
154 x 113 x 20.5 cm
installation view, wave form walks the earth, Hannah Hoffman, Los Angeles
rubber jacket, leather, orthopedic jaw fixation hardware, stainless steel, amber
57 x 16 x 6 in
145 x 40.5 x 15 cm
installation view, wave form walks the earth, Hannah Hoffman, Los Angeles
rubber jacket, leather, orthopedic jaw fixation hardware, stainless steel, amber
57 x 16 x 6 in
145 x 40.5 x 15 cm
installation view, wave form walks the earth, Hannah Hoffman, Los Angeles
pewter, stainless steel, leather, sandbag
67 x 12 x 11 in
170 x 30.5 x 28 cm
installation view, wave form walks the earth, Hannah Hoffman, Los Angeles
pewter, stainless steel, leather, sandbag
67 x 12 x 11 in
170 x 30.5 x 28 cm
installation view, wave form walks the earth, Hannah Hoffman, Los Angeles
leather, laboratory heating mantle, cast glass, labdanum resin, high altitude flight mask, transformer, stainless steel
74 x 18 x 18 in
188 x 45.5 x 45.5 cm
installation view, wave form walks the earth, Hannah Hoffman, Los Angeles
leather, laboratory heating mantle, cast glass, labdanum resin, high altitude flight mask, transformer, stainless steel
74 x 18 x 18 in
188 x 45.5 x 45.5 cm
installation view, wave form walks the earth, Hannah Hoffman, Los Angeles
aluminum
20 x 12 in each
51 x 30.5 cm
aluminum
20 x 12 in
51 x 30.5 cm
Cast in solid aluminum, these slabs are made up of discarded cables and other industrial metal components that the artist gathered from scrap yards in Alberta, Canada. Cameron-Weir’s conception of the project came from an atlas of the moon published by NASA in advance of the moon landings, which features pages upon pages of detailed topographical maps. In mirroring the size of the book’s pages, and parenthetically titling them Plates, Cameron-Weir refers back to this original source. Just like the map of the moonscape, these pieces contain cryptic visual data left behind by the chemical process of melting and setting the scrap metal, a process that mirrors geographical formation. The resulting objects approximate a guide to an arcane landscape.
stainless steel, onyx, laboratory hardware, sterling silver, liquid candles, mica, frankincense, sand, mortar and pestle
30 x 80 x 43 in
76 x 203 x 109 cm
installation view, Erotix, Andrea Rosen, New York
stainless steel, onyx, laboratory hardware, sterling silver, liquid candles, mica, frankincense, sand, mortar and pestle
30 x 80 x 43 in
76 x 203 x 109 cm
installation view, Erotix, Andrea Rosen, New York
patent leather, steel, buckwheat, US military medical field chair
50 x 36 x 26 in
127 x 91.5 x 66 cm
installation view, Erotix, Andrea Rosen, New York
patent leather, steel, buckwheat, US military medical field chair
50 x 36 x 26 in
127 x 91.5 x 66 cm
installation view, Erotix, Andrea Rosen, New York
stainless steel, lead, sand
108 x 78 x 27 in
274.5 x 198 x 68.5 cm
installation view, snake with sexual interest in own tail, Venus, Los Angeles
'Elaine Cameron-Weir titled her exhibition snake with sexual interest in own tail, and through this phrase one can almost imagine the monstrous serpent that might have owned these scales and its mechanical grin with forked tongue teasing its tail as jaws unhinge and swallow. The ouroboros, an occult symbol, appears here and there across disparate spiritual practices and is a fundamental sigil in the history of alchemy. The artist as alchemist is an old trope—both transform base materials into something new—but this artist has left more than a metaphor. The collection of strange sculptures Frankensteins the tempting contrasts of the natural and unnatural into a scenario for an elusive story, its mysteries never really revealed.'
— Andrew Berardini
Artforum, Critics' Picks
parachute silk, stainless steel, leather, sandbags
63 x 36 x 7 in
160 x 91 x 18 cm
installation view, exhibit from a dripping personal collection, Dortmund Kunstverein, Dortmund
parachute silk, stainless steel, leather, sandbags
63 x 36 x 7 in
160 x 91 x 18 cm
installation view, exhibit from a dripping personal collection, Dortmund Kunstverein, Dortmund
marble, stainless steel, aluminum, pewter, leather, parachute cord, orthopedic jaw fixation device
78 x 17 x 10 in
198 x 43 x 25.5 cm
installation view, CONDO, Sadie Coles, London
marble, stainless steel, aluminum, pewter, leather, parachute cord, orthopedic jaw fixation device
78 x 17 x 10 in
198 x 43 x 25.5 cm
installation view, CONDO, Sadie Coles, London
marble, stainless steel, aluminum, pewter, leather, parachute cord, orthopedic jaw fixation device
78 x 17 x 10 in
198 x 43 x 25.5 cm
installation view, CONDO, Sadie Coles, London
marble, stainless steel, aluminum, pewter, leather, parachute cord, orthopedic jaw fixation device
78 x 17 x 10 in
198 x 43 x 25.5 cm
installation view, CONDO, Sadie Coles, London
clam, neon, transformer, ceramic, olive oil, mica, wick, sand, incense, brass, chain
shell: 13 x 32 x 23 in
shell: 33 x 81.5 x 58.5 cm
brass rod: dimensions variable
installation view, venus anadyomene, Ramiken Crucible, New York
clam, neon, transformer, ceramic, olive oil, mica, wick, sand, incense, brass, chain
shell: 13 x 32 x 23 in
shell: 33 x 81.5 x 58.5 cm
brass rod: dimensions variable
installation view, venus anadyomene, Ramiken Crucible, New York