Cameron E.G. is an American neo-classical composer and contemporary pyschedelia artist born in May 1987 in Honolulu, Hawaii, the region's tropical nature and beauty served as sources of inspiration while growing up and pursuing his artistic ventures. His grandmother, an artist as well, was his mentor. At 19, he expressed an intense interest in music and composition, and moved to Seattle earning a degree in ethnomusicology at the University of Washginton. He is a bassoonist and resides in San Francisco, where he lives at a cross between art and music.
Cameron E.G. Is an artist, whose vibrating visual art explores complex detailed layers, beauty and nature, science and technology, permutations of theme and variation, and repetitive sampling from his own work. Deeply obsessed with the tiny micro patterns nature is capable of bringing everywhere; their intricate shapes reveal grids of sacred geometry. These days he is focused on digital art where he is able to express his varied interests in psychedelia culture with visions that mix music, sacred geometry, science, and spirituality.
As an emerging artist on the scene, Cameron E.G. has displayed in various galleries in San Francisco, as well as at numerous festivals such as How Weird and Festival of Love, where he appreciates direct interaction with people. Viewers are drawn into his imaginative compositions that are overflowing with colorful layers to form unique patterns and textures that are a glimpse into the multiverse. His work has a cosmic glow which provides the onlooker a means to interpret it in their own way. At the center of Cameron E.G.’s work are complex details that offer a window of transcendental dimensions of imagination; be prepared to leave this world behind.
I create entire universes on canvas, the more variety on canvas like a mini-ecosystem the better. These paintings are the score and foundation of my vision. My approach to painting is unconventional, because I pay more attention to the smallest details more so than thinking about it as a zoomed out whole. I compose many different variations and rhythms in as many layers (as many as 50) to make the image rich and dense. I often paint under a magnifying glass. I look for harmonic colors and recurring patterns to produce a melodious and harmonic work of art. I find working with tiny details so fascinating, I want to draw peoples attention to it, and make them stop and really look.
Through the eyes of a composer, I capture microscopic details of my paintings impossible to see with the naked eye. This sampling of my own paintings takes viewers on a symphonic movement which explores texture, rhythm, and a serenade of color. An expression calling attention to the details rather than the whole, my Acrylic Macros express an inherent duality both terrestrial and celestial that arouses the imagination.
Derived from my Acrylic Macros photos, Kaleidoscopic Jewels are rhythm arrangements where I orchestrate innumerable variations of sacred geometry, fractals, and symmetry. This creates a fun psychological phenomenon known as Pareidolia; where people interpret familiar patterns as faces, objects, or animals where none exists.
Each as unique as a snowflake, these jewels capture a frozen moment that is a measure of the finite and a road to the infinite.
What do you see?
- Music -
Cameron E.G.'s style might be described as Neo-Classical. As a composer, He is inspired most by the Classical Masters. Often, he uses bold statements with lyrical melodies, colorful orchestration, and varied textures. Drawing his strengths from his slower movements, he express a varied palette of emotions from the darkest depression to the sublime and joyous.
Beginning his interest in Music Composition at the age of 13 in Hawaii, Cameron has composed an assortment of musical works for piano, small ensembles, orchestra, concert band, and symphonic orchestra. In 2012 he earned a degree at the University of Washington, Seattle, in music and ethnomusicology, specializing in the gamelan of Indonesia. He has since moved to San Francisco, where he continues to focus on his artistic career.
Various works have been performed by musicians at the University of Hawaii, including his “Nocturne II” by pianist Megumi Kurachi and “Brass Band on Piece 21” by the University's Brass Ensemble under direction of Grant Okamura. The Honolulu Symphony Orchestra performed his fourth movement of Symphony No.1 in collaboration with the University of Hawaii under direction of maestra Joan Laundry. In Seattle, the Seattle Symphonic Band premiered Tempest: for concert band under direction of Lauren Anderson in December of 2007. The Chinook Winds premiered Divertimento No. 1: for double wind quintet and bass clarinet in April of 2008 under direction of UW Doctorate student, Maggii Weitzel.
Attending the UW he has had many wonderful opportunities to work with the schools various ensembles and conductors, such as Ethan Chessin, Garry Brattin, Dr. Steven Morrison, Vu Nguyen, and director of bands Timothy Salzman. In his senior year at UW he worked with Salzman who led the Wind Ensemble in an arrangement of three Schubert Lieder songs arranged for band. For his senior thesis he completed an an original composition for the Seattle Pacific University Gamelan ensemble with Prof. Christina Sunardi.
He has had great opportunities abroad to bring some of his works to life, and selected works have been performed by musicians in various parts of the world. Conductor Garry Brattin (1965-2015) led the Yue Tao Concert Band in 2013 with "Tempest" in Taipei, Taiwan. In 2015 conductor Peter Wuttke led his double wind quintet with the premiere of "Divertimento No.2" and "Divertimento No.1" in Düsseldorf, Germany.
Cameron E. Gerhold
(1987 - )