Cameron Keith Gainer works in a broad range of media and approaches. From his bustling Minneapolis studio comes a quarterly journal (on “art, politics, philosophy, and culture”), sculptures made from 4.6 billion-year-old meteorites, films, paintings, and installation works. Underpinning all is a keen interest in fundamental concepts, such as time and light.
For the video work
Eternal Hour, Gainer extracted precisely one second from the introductory title credits of
Days of Our Lives, the longest running television program in history. Looping the footage creates a video work without beginning or end, let alone a narrative arc. Central to the composition is the image of the hourglass with its “sands of time” never able to fulfill its function. Time is suspended in a meditative—and frustratingly repetitive—stasis.