Born 1969, Los Angeles, CA. Lives and works in Paris, France

Selected Solo Exhibitions: 2003 'Kranky Klaus/BB/Spook House ', Artangel, England; Galerie Christine Kšnig, Vienna; De Vleeshal, Middelburg, The Netherlands 2002 Galerie Chantal Crousel, Paris 2001 Yerba Buena Center for the Arts, San Francisco 2000 'BB ', O.K Centrum fŸr Gegenwartskunst, Linz

Selected Group Exhibitions: 2003 'How Latitudes Become Forms ', Walker Art Center, Minneapolis; 'The Fourth Sex: The Extreme People of Adolescence ', Stazione Leopoldo, Florence; 'M_ARS: Art and War ', Neue Galerie am Landesmuseum Joanneum, Graz; 2002 'The Dazed Eye ', La Foret Museum, Tokyo 2001 "Contemporary Projects 5: Legitimate Theater", Los Angeles County Museum, Los Angeles; "Casino 2001", S.M.A.K. Stedelijk Museum, Gent 2000 "Let 's Entertain/Au-dela du spectacle", Centre Georges Pompidou, Paris

Bibliography: 2003 Hoffmann, Jens, 'Interview with Cameron Jamie ' Flash Art; Gambari, Olga, 'How Latitudes Become Forms ', Flash Art 2001 Indiana, Gary, 'Openings Ð Cameron Jamie ', Artforum 2000 Cotter, Holland, "God Bless America", New York Times; Gilman, Frantiska & Sevcik, Tim, "God Bless America", Flash Art, Summer Lindgaard, Jade, 'Ring Parade ', Les Inrockuptibles 1999 Angus, Denis, "Poete' Catcheur Extension du Domaine du Catch ', Omnibus; Ardenne, Paul, "Close to Me Against You", Artpress; Johnson, Ken, "After the Gold Rush", New York Times; Liu, Jenny, "Boys Keep Swinging", Frieze; Sanders,Mark, "Come Wrestle With Me", Dazed & Confused 1998 Kimmelman, Michael, "Pop Surrealism", New York Times; Zimmer, William, "Recipe for a Good Time: Surrealism and Pop Culture", New York Times; Murakami, Takashi, "Cameron Jamie", Studio Voice; Saltz, Jerry, "Cameron Jamie", Time Out New York

Cameron Jamie

I know nothing about Cameron Jamie, but I suspect that 's not even a problem as obscurity is crucial to his world: all his universe seems enveloped in sinister, at times sordid, shadows, brightened up by the occasional scream of an electric guitar, courtesy the Melvins. Teenagers fighting in the garage, Halloween parties transformed into frightening abuses of power, psychotic sketches as explorations of some cheap, collective unconscious: through his videos, performances, and drawings, Cameron Jamie is excavating the junk space of contemporary culture.

Like some sort of archaeologist of the vernacular, Cameron Jamie unveils the ruins of Western civilization, amplifying the latent violence of mass rituals and suburban angst. Picking up the legacy of backyard anthropology as conceived by Cady Noland and Paul McCarthy, Cameron Jamie is composing a subterranean novel of exceptionally raw power, where zombie-like creatures chase the ghosts that haunt middle class houses.

A diffused sense of uneasiness creeps through his images, like an infective disease: it 's an absolutely contemporary malaise, a virus infesting the soul of the affluent society. And yet Cameron Jamie 's work also evokes archaic fears and gothic anxieties, finally proving that Dracula and Michael Jackson are more than just distant relatives.

Exploring the dark side of white America and the carnivalesque traditions of old Europe, Cameron Jamie embarks on a macabre journey to the province of the Empire, where ancient and morbid rites mix with punk, fuck-it-all attitude. Both an exorcism and a black mass, Jamie 's work is a descent into the heart of darkness.

Massimiliano Gioni