Untitled 2020

Cameron Platter made this ‘Untitled’ print sometime around now, and it's a real jumble of black and white, a high contrast stew, cooked up using a reductive process. You get the sense he's carving out meaning, quite literally digging into the surface to reveal his vision. The inky blacks are so strong, they almost feel like a physical presence. There's a tension between the density of the forms, and the negative space, like a crowded room with all the furniture pushed to the walls. Look at the lower part of the print, the way the figures are patterned with all these tiny marks. They almost vibrate, right? It’s kind of a crazy effect; your eye just bounces around, trying to make sense of it all. I can’t help but see echoes of someone like Phillip Guston in this, with the clunky rendering, and the way the composition crowds the frame. I mean, art is just this big, messy conversation, right? Everyone riffing on each other, playing with these ideas, trying to make something new. It's more of a feeling than something fixed or figured out.