Cameron Welch

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Artist Statement

My work is invested in visual information, and how materials have content inherent in them.
My practice originated in painting, but is more concerned with its utilization as a signifier. The finessing of a paintbrush to illustrate isn’t really an interest of mine. Paint is always paint before it can point to something else. In my practice I am often referencing the language of formal abstraction, but through means that are distanced from it materially. The large scale works utilize a varied set of materials and processes, including collage, sewing, dying, staining, printing, flocking, stuffing, and painting. The reference to collage in my work is an important one. I find myself intrigued by the haste in the gesture. It’s the reason I include sewing as a fundamental part of my practice. It binds multiple sources together against their will to create new meaning and disjuncture. This all points back to visual information. I’m also very interested in the juxtaposition of images and materials. The images utilized refer to my own personal history as a means to navigate identity, but the manner in which they manifest is through the lens of formalism. The work is attempting to posit a space where content is in direct collision with formal play.



MFA, Columbia University
BFA, School of the Art Institute of Chicago

Finished Goods Warehouse, Pfizer Warehouse, Brooklyn, NY, organized by Natalie Bell
Theaster Gates: How to Build a House Museum (contributor), Art Gallery of Ontario, Toronto Ontario, Canada
Columbia University MFA Thesis Show, Fisher Landau Center for the Arts, New York, NY
Brooklyn Academy of Music Annual Art Auction, Bridget Donahue, New York, NY
75th/150th Joint Anniversary Exhibition, South Side Community Arts Center, Chicago, IL
Columbia University MFA First Year Exhibition, Miriam & Ira D. Wallach Art Gallery, New York, NY
Private Eyes. Gray Sunsets, Circuit 12 Contemporary, Dallas, TX
Game Genie, Trestle Projects, Brooklyn, NY
The Politics of Seeing, BFA Exhibition, Sullivan Galleries, Chicago, IL
Marvelous Freedom. Vigilance of Desire, Revisited, Arcade Gallery, Chicago, IL
Mythologies, Sullivan Galleries, Chicago, IL
Take Away, Student Union Galleries, Chicago, IL
Act II: Fiction Brings it Closer, Student Union Galleries, Chicago, IL
I know that I know that I am Doing This, Kirk’s Apartment Gallery, Chicago, IL
Old and New, Harrison Galleries, Indianapolis, IN
What’s Your Sign, Indianapolis Art Center, Indianapolis, IN

The Links INC. Art Scholarship
The Elizabeth C. Nolan Shortridge PTA Scholarship
SAIC Distinguished Scholarship of Merit
Columbia University Visual Arts Scholarship
Columbia University TA Fellowship

Sargent, Antwaun, Facebook Photos and Collages Converge in Portraits of Digital Lives, The Creators Project
Sargent, Antwaun, Post-Black Art in the Age of Hip-Hop, VICE
Sargent, Antwaun, Black Lives Matter, The Aesthete
Orendorff, Danny, Exhibition Review: “Mythologies” at SAIC’s Sullivan Galleries, Bad at Sports
Yeboah, Sampong, Columbia’s Afro-Surreal Life, Columbia Chronicle
Marvelous Freedom / Vigilance of Desire, Revisited, Kelsephonics
Wallis, Tanisha, Contemporary Aesthetics Meet Traditional Stereotypes, Reviewing the Arts
Grossman, Dan, Visual Arts: Old and New: Various Artists, NUVO
Paper Canvas, Indianapolis Art Center

Adjunct Painting Professor, Columbia University