cameron eaton
 

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2013 Pigs

2012 was a financially difficult year, which followed several other financially difficult years. We've watched the troubles in Greece, Spain, Italy and most of Europe with mixed feelings. Much the same as we watched so many Americans lose their homes not long before.
By and large Australians fared considerably better, but it's left the nation in a state of anxiety. Job cuts and cost cutting, designed to spare us the worst, haven't improved the mood.
And like the rest of the world, it got me thinking about greed. No natural disaster caused this trouble. We did it to ourselves.

TROTTER
hand carved plaster, gloss enamel paint
25x7x8cm
2013

Working in the construction industry, over the last two decades, I have heard constant complaints regarding the decline of designers fees as a percentage of project value. A lot of energy is put into concepts - how else can you win work in a competitive environment - but when the time comes for nutting out the details, the fees are all but gone.
 

PORK CHOP
Cast Concrete, acrylic paint and resin
35x22x7cm
2013
Recent reports state that something like eighty five percent of new strata buildings in Sydney have serious defects, some of which may be life threatening with three quarters never getting fixed. They look great, but they've got real problems.
So why build crappy buildings? Is it really cheaper to rush to completion and pay out the complainants later?

 

SPLIT PIG
Polymer Clay, Acrylic and Timber
21x14x7cm
2013

Successive downturns strip industry of experienced workers. I'm not sure where they go, but the jobs they had aren't there anymore. Then as things pick up, firms are short handed, the available staff are second rate and others are just too inexperienced and fresh.

PIGGY PIGGY ON THE WALL (left)
Painted Fibreglass and Silverback mirror
60x53x5cm
2013

PIGGY PIGGY ON THE WALL - rear view (right)

Frustrated by thoughts of figurative work that failed to sum my feelings, I came to focus on the humble pig. It's the archetypal symbol for excess. In an extreme example of reverse anthropomorphism we have come to assign the worst of it's characteristics to ourselves.

TROPHY maquette
glazed ceramics
10x10x8cm
2013
TROPHY (wip)
unfinished fibreglass
60x45x40cm
2013
TROPHY 2D(left)
pen+ink on paper
30x42cm
2013

PORK SAUSAGES (right)
pen+ink on paper
30x42cm
2013

 

DISGUISED VIOLENCE
cast polyester resin with embedded plaster bullet
25x7x8cm
2013
     
     
     


cameron eaton
 

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