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.