Cameron Bishop 'Heteromania - Occupy Conversations' 2013 digital video
"Displacing the viewer, making them aware of the fictions and ... ideologies that go into certain conventions is the key to the work. Art is a tool through which a variety of identities can be staged and exposes the real world as an other space, or heterotopia."
Cameron Bishop is a Melbourne based artist and academic. Working across a number of media (sculptural installation, digital animation, painting and drawing) he explores the relationship between the subject, artist and viewer, arguing that they are, under certain conditions, the same thing - supplementary subjects. He has had numerous solo and group shows and has collaborated with Bozo Ink on a number of sculptural projects - mainly with the artists Simon Reis and David Fitzsimmons. From 2010-12 he worked with Simon Reis (as Bishop and Reis) in producing the Gallery X series - sculptural installations exhibited over 3 years at West Space, Seventh and Geelong Galleries. Each installation worked to critique the gallery in which it sat by replicating the spaces in various scales and media. In doing this they literally immersed the viewer in the work of art. At Geelong they digitally reanimated two of the gallery's major paintings and literally insinuated the viewer into Australian art history.
This website documents some of the artworks, projects and writing Bishop has completed over the last 15 years. In the writing folder there are texts by himself and others (and a CV). Generally his research appropriates existing cultural artefacts because he likes to borrow from paintings, films, spaces, conversations and others to disturb conventional ways of seeing and experiencing the world. Like each of us Bishop is adept at talking about himself in the third person to profile himself in digital spaces such as this. He borrows from himself and others often as he continually loops back over familiar territory in order to defamiliarise the territory - for himself and others. He is interested in critical occupancies, media archaeologies and resistance strategies and, with these tools, looks to entwine art with life.