Excerpts and moods of real places form a center of reference in Cama`s oeuvre.

 

 

Like a coin has two sides, he both complains, adores and embodies the experience it is growing up in different cultures and having to adjust just being part of everyday life in his body of work.

Being careless with brushes, only buying cheap ones and throwing them away. 
In the isolation of this experience you are being guided through homes with bulletholes still in them from the balkan war, smells from old friends homes from around the world, teachers looking down on you because you speak a certain lingo, and pain and depression forming as you get older like that any attempt getting out of the hamsterwheel is an unimaginable poem.

The transformation of worldly conditions and limitations in the everyday shift and create layers of time between what was and what is. The permanence of change is inevitable and the continuity of history of people of other decent can be found in the frozen moments, in the places that elude the dissolution of collected traces stemming from mass trauma being a child of war.

Through his work, life crisis and everyday problems are distorted, alienated and made available for the viewer. Their successive abstraction turns the mark making into the almost symbolism that dominates Camas’s unmistakable visual language and allows you to have both a strong and sculptural experience at the same time. Working on both canvas and most noted wood as the key speaker.

A material given from God, he says.