Artist Statement
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"Thoughts of connectivity, potential as form, and the effects of an object on an observer are at the core of my designs. Each object is a capsule of potentiality, existing as both motion and solidity, a universe of possibilities, a choice, a pause to question what is, they are a chrysalis waiting for a moment of decision. Observer interaction is essential in that it is the catalyst to interpretation. Thoughts and ideas, following an interaction with each art object, is a rebirth...that is the purpose for which they exist. Story is the driver behind each conceptual design and fabrication. Whether they are intended for bronze, wood, steel, acrylic, light or print media, they provide a moment to consider the way we think of ourselves and the world around us, an opportunity for emergence, a step into a new world of illumination."
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Recent News
Several new pieces are through the design phase for 2020 and have been added to the Folio, located above . Upcoming online exhibitions, paired with artist talks, have now been scheduled for release and details have been added to the Primum section. Downloadable Catalog's for each series of work will be available for pre order following each exhibition. Soon, limited selections of smaller sculpture, prints and wearables will be available for purchase through the Shop. Large scale works including monumental sculpture and commissions can be custom ordered. If you have any questions please feel free to reach out. Tactus Connect
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About the Artist
cameron Farn is a native of Calgary, Alberta, Canada, and currently lives in Airdrie, just north of his home town. As a veteran Creative Director and Designer, in public art and specialty fabrication, collaboration with other creatives have nurtured exploration into various artistic disciplines, leading to a unique and very personal form language. As a multi-disciplinary/media artist, Cameron's work continues to be explorative in its conception, build approach and materiality. A welder, drafter and industrial painter. A commercial sculptor, illustrator and designer. Special effects and prop sculptor for film and television, teacher and mentor. He refers to these past experiences as "skill hording." But, at the center of the maelstrom of creativity is a bipolar and thought disorder. It causes time slips, spinning letters and numbers and the pushes and pulls of wild creativity followed by fatigue and eventual physical crashes. He has described his thoughts as being, "a beautiful mess to play in and on occasion, drown in." For years he harnessed his mercurial nature and creative energy to assist other artists in the pursuit of their own visions, and now to explore more deeply, his own. With the support of his wife Susan, father Jim and their family of fur babies, Lab+Huskies Freya and Loki, the artwork continues to flow, expanding into parametric modelling, architecture, lighting and more.
From Screen to Sculpture
Working in a digital studio space has allowed for some amazing exploration into form. Abstract expressionism, figurative work, fabrications, and even automation. The path to expression is limitless...as long as it can Stand up and Stay up in its final tangible form. Work developed through digital means can often push the boundaries of what can physically be fabricated, having been designed without the constraints of physics or scale. But conceptually, whether conceived digitally or traditionally, it’s the only way to begin. Design exploration and communication should first have no boundaries, it should be unbridled exciting and prolific. For example, my design sketches begin as numerous and energetic thumbnails, small quick drafts of thoughts seeking a balance between story, form and movement. Refined sketches are a rarity, instead I usually choose to continue the design exploration in digital space.
Once there, I’m completely free to explore form, scale, materiality and surface finish. Only when the form reaches a first draft do I begin to consider scale and sight-lines. Especially for public works, I begin to add elements which suggest the artworks final location, and begin the lengthy process of refining the sculpture to work in harmony with the environment and lighting conditions, balancing its original rawness with the needs of the space.
When a sculpture is mid-way through its refinement, depending on scale, it will go through an engineering phase, allowing me to move forward with confidence. As the design work comes to a close, final materials, engineering, finish and installation methodologies are selected and tested.
Now for the big one... Budget. It, is always a driver, especially for commissioned or large-scale fabrications. However, the rawness and story conceived and nurtured throughout the design phase cannot be compromised. Budget may affect scale, surface finish, and material selection, not the story, not the feeling, not ever.
With the design complete, the artwork is trusted to a select number of manufactures and foundries where it is further refined and art directed through to its completion. Manufacturing process may include, fabricated elements of steel and aluminum, 3D printing, CNC milling of large-scale components, clay overlays, metal or composite castings, including print media.
No matter the final selected techniques or tooling, it is the expression of the idea that is paramount, always.
Once there, I’m completely free to explore form, scale, materiality and surface finish. Only when the form reaches a first draft do I begin to consider scale and sight-lines. Especially for public works, I begin to add elements which suggest the artworks final location, and begin the lengthy process of refining the sculpture to work in harmony with the environment and lighting conditions, balancing its original rawness with the needs of the space.
When a sculpture is mid-way through its refinement, depending on scale, it will go through an engineering phase, allowing me to move forward with confidence. As the design work comes to a close, final materials, engineering, finish and installation methodologies are selected and tested.
Now for the big one... Budget. It, is always a driver, especially for commissioned or large-scale fabrications. However, the rawness and story conceived and nurtured throughout the design phase cannot be compromised. Budget may affect scale, surface finish, and material selection, not the story, not the feeling, not ever.
With the design complete, the artwork is trusted to a select number of manufactures and foundries where it is further refined and art directed through to its completion. Manufacturing process may include, fabricated elements of steel and aluminum, 3D printing, CNC milling of large-scale components, clay overlays, metal or composite castings, including print media.
No matter the final selected techniques or tooling, it is the expression of the idea that is paramount, always.
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Notable FDSC*
• Calgary Int'l Airport -Welcome Walls, Canada and U.S.A* • Natures Playground -Tin Toy Trees* & Wire Animal Installation* with artist Jeff De Boer • Fort McMurray Int'l Airport -Trident Light Towers, Welcome Signs, Kiosks* |
Artist Services
• Consulting Artist • 3D Modeling and Rendering • 3D Printing • Conceptual Design • Project Management |
Trusted Contractors
• Intuitive Consulting Engineers • Little Giant Rocket Company • Cory Barkman Artist • Carvel Creative |
All images, concepts and designs are the copy written work of Cameron Farn, all rights are reserved.
Borden Ladner Gervais LLP
LuAnne R. Morrow
T 403.232.9577
US 424.376.8174
M 403.829.9288
Centennial Place, East Tower, 1900, 520 – 3rd Ave S W, Calgary, AB, Canada T2P 0R3
LuAnne R. Morrow
T 403.232.9577
US 424.376.8174
M 403.829.9288
Centennial Place, East Tower, 1900, 520 – 3rd Ave S W, Calgary, AB, Canada T2P 0R3