Kuhn Fine Arts Gallery
The Kuhn Fine Arts Gallery serves the The Ohio State University at Marion students, faculty, staff and Marion community. The Kuhn Gallery is located off the main lobby at the east entrance of Morrill Hall located at 1465 Mount Vernon Avenue, Marion, Ohio 43302. The gallery is free and open to the public.
Currently on display
the gap between everything else, Cameron Sharp
The Kuhn Gallery of Art at The Ohio State University is excited to begin the 2019 exhibition season with the Cameron Sharp exhibition the gap between everything else on display January 7 through March 1, 2019. Please join us on campus for this engaging show of mixed medium works. Please review the gallery’s new hours of operation as they have recently changed.
Hours of Operation: Monday through Thursday 11:30 a.m.-2 p.m. and 6-8 p.m.
Cameron Sharp • Biography
Cameron Sharp is an artist and educator living Columbus, Ohio. He taught as an auxiliary faculty member at the Ohio State University’s main, Marion, and Newark campuses for three semesters after earning his Master of Fine Arts degree from the main campus in 2017. Cameron created and curates MILOTI Program, an annual film festival in Columbus, Ohio. He exhibits his work nationally including at the Black Box Gallery in Portland, Oregon, Alys Beach, Florida’s Digital Graffiti, and ROY G BIV Gallery in Columbus, Ohio. Cameron currently works as a Preparator at the Columbus Museum of Art.
Cameron Sharp • Artist Statement
I use photography, moving images, and relatively available materials as a basis to explore notions surrounding connection, desire, loss, time, and memory. I am interested in the complicated relationship that exists between direct experience, the representations of these experiences, and the way they are ultimately presented. Although there is a common understanding that an image’s role as honest and trustworthy is ubiquitous, the reality is that the act of making and presenting still and moving images can, at least, alter the narrative and understanding of the experience documented, thereby compromising the image’s traditionally understood role.
Cameron Sharp • the gap between everything else
The title of this show, the gap between everything else, comes from a comment the photographer Martin Parr made about the photography of William Eggleston. In brief, Parr claims that Eggleston does not rely on what he calls “decorative” things like sunsets, or deeply nostalgic ideas to make his photographs resonate. Instead he photographs ordinary situations and makes them feel powerful, “as though he is photographing the gap between everything else.”
I am interested in the way that Martin Parr speaks about this idea in reference to William Eggleston’s photography, and I am interested in how else this idea could be explored.
Conceptually, I am interested in the idea that images have power over experience in that they are historically and commonly understood to be trustworthy and honest. Because of this, we commonly confuse actual experience with the images taken of our experience. And so, what if typical images of experiences – these “decorative” (to borrow Martin Parr’s word) things, like sunsets, architectural icons, and families smiling shoulder to shoulder – are not what is shown, but instead, moments that are more abstract, that seem more fleeting, passing, or even accidental? What does that do to the traditional notion of images as related to experience and memory? What happens if images are paired with words – another common means of representation – but these words are not used in a direct, concise, and clear manner? What does this to do the tradition? What if the images are not single moments of time, but multiple moments, in an out of order, pushed up against one another and layered on top of one another, creating new contexts and abstracted orientations of an otherwise relatively representational scene? And what if the words used are crossed out, edited, and at times illegible?
Personally, I find it important to work with images that resonate emotionally in me. To have something at stake – vulnerability, weakness, insecurity – is necessary to get at the real core of my interest in images and experience. It is important that I am asking personal questions, not just academic questions, and that I ask the questions I have of my personal images to my brain, my hands, and my heart. It also makes sense to me to present my work in an unframed, active, and unfinished way as a gesture towards the active and unfinished business I have with images.
Ultimately, this gap between everything else becomes, for me, the space where a direct exploration of the complicated relationship between direct experience, the representation of experience, and how these representations are presented exists. It becomes, for me, the space where questions don’t get buried in the simple notion that images simply ‘are,’ simply ‘do,’ or simply ‘show.’ It’s the space that highlights the questions, highlights the uncertainty and complexity, the space that highlights everything else.