CAMERON HOCKENSON
Twelve DecoysVessels of TradeCave TourCounter PointRetension/DepositionAbacus of Urban TimeAbacus of Urban TimeScarcity: Mojacar, Spain.Reproduction Cycle: Exhibition--DeMobbing, Headlands Center for the Arts.FIRE/MOVES/EARTHWhat I WasDemeter's PathBioglyphBioglyphAs I Remember It"Some Assembly Required"Variations On a Wood PileVariations On a Wood PileVariations On a Wood PileVariations On a Wood PileVariations On a Woodpile: Twelve Decoys. Variation On a Wood Pile: Twelve Decoys. Variations On a Wood Pile: DisposalVariations On a Wood Pile: "End Game"
ACCUMULATIONS
I'm interested in copies and multiples. When objects are copied by an individual, or even as a cultural practice, small changes occur in the process of making that result in variation and incremental change. This endeavor is in many ways a counterpoint to the idea of mass-production, and a return of human patterns and creativity to the processes of object making. There are over two billion wooden shipping pallets in circulation in the United States today. More than a waste issue, the ubiquity of such products becomes symbolic of the scale of the global economy. I find more use in wasted cardboard boxes and shipping palettes than in the products they contain. Working from a discarded kit of parts, I salvage a personal voice from prevailing models of production and consumption.

Each piece is a community of form that appears morphologically different while being exactly the same, which can reconfigure to adapt to different contexts in different permutations at different scales. A changeable bar code, a template, a map, a topography, a bridge etc. It is an algorithmic politics that can retain statehood while shepherding form across time and space.
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