Temporal Dispersions
April 4 - May 10, 2025 - Extended thru May 22
ENGAGE Projects is pleased to present Cameron Gainer’s solo Chicago debut with our upcoming exhibition “Temporal Dispersions.” Using the open desert as his studio space, this new photo-based work elucidates enduring themes in Gainer’s art, addressing the ineffable nature of time and the mysteries of perception—recurrent themes that span his artistic career.
Over the last two decades, Gainer has combined scientific and artistic inquiry in his expansive practice. His past works include using the world’s most light-sensitive camera to capture bioluminescence, casting time out of 4-billion-year-old meteorites, and painting photo-realistic canvases based on satellite images of impact craters named for notable artists, scientists, and thinkers.
A conceptual landscape artist at heart, this recent work, the Temporal Dispersions, pushes the limits of photography in what Gainer calls “an interrogation of the photographic process and the representation of landscape at the edge of form.”
Working in the arroyos (seasonal riverbeds) of the Sonoran desert, Gainer begins creating these works by marking a section of land the size of the photographic material. He carefully removes the desert topsoil, which consists of insects, bones, plant material, scat, and primarily silica—the raw material from which photographic lenses are made. He then places this material in a temporary container and lays the photographic substrate onto the prepared ground.
The artist then acts as a human hourglass, letting time pass as he methodically pours the removed soil onto the surface of the paper or fabric. This durational element allows the light-sensitive material underneath to slowly record the time it takes for the displaced landscape to settle and be “exposed” by the elements of gravity, wind, time, and light. The earth acts as the camera, the raw silica the lens, and the desert functions as the focal point.
For the work’s final stages, Gainer removes the photographic material from the soil and returns the land to its original condition, removing any trace of a human presence. The resultant images are vibrant blue materially direct abstractions, the color of the sky and the ocean—the earth’s counterparts. Simultaneously evoking the most advanced imagery of deep space and a birds-eyeview of the melting arctic ice, these meditations resonate with our contemporary ecological condition. For Gainer, the process remains a point of emphasis: he establishes the photographic conditions for an image to be formed, but the results are created by the elements and the landscape itself.
Over the last two decades, Gainer has combined scientific and artistic inquiry in his expansive practice. His past works include using the world’s most light-sensitive camera to capture bioluminescence, casting time out of 4-billion-year-old meteorites, and painting photo-realistic canvases based on satellite images of impact craters named for notable artists, scientists, and thinkers.
A conceptual landscape artist at heart, this recent work, the Temporal Dispersions, pushes the limits of photography in what Gainer calls “an interrogation of the photographic process and the representation of landscape at the edge of form.”
Working in the arroyos (seasonal riverbeds) of the Sonoran desert, Gainer begins creating these works by marking a section of land the size of the photographic material. He carefully removes the desert topsoil, which consists of insects, bones, plant material, scat, and primarily silica—the raw material from which photographic lenses are made. He then places this material in a temporary container and lays the photographic substrate onto the prepared ground.
The artist then acts as a human hourglass, letting time pass as he methodically pours the removed soil onto the surface of the paper or fabric. This durational element allows the light-sensitive material underneath to slowly record the time it takes for the displaced landscape to settle and be “exposed” by the elements of gravity, wind, time, and light. The earth acts as the camera, the raw silica the lens, and the desert functions as the focal point.
For the work’s final stages, Gainer removes the photographic material from the soil and returns the land to its original condition, removing any trace of a human presence. The resultant images are vibrant blue materially direct abstractions, the color of the sky and the ocean—the earth’s counterparts. Simultaneously evoking the most advanced imagery of deep space and a birds-eyeview of the melting arctic ice, these meditations resonate with our contemporary ecological condition. For Gainer, the process remains a point of emphasis: he establishes the photographic conditions for an image to be formed, but the results are created by the elements and the landscape itself.
All installation photos by Jonas Muller-Ahlheim
Temporal Dispersion: Sonoran Landscape #9, 2025
Cyanotype on cotton, trace elements of silica, plant materials, bone
66 x 50 in
167.6 x 127 cm
mounted
Cyanotype on cotton, trace elements of silica, plant materials, bone
66 x 50 in
167.6 x 127 cm
mounted
Temporal Dispersion: Sonoran Landscape #10, 2025
Cyanotype on cotton, trace elements of silica, plant materials, bone
60 x 88 in
152.4 x 223.5 cm
mounted
Cyanotype on cotton, trace elements of silica, plant materials, bone
60 x 88 in
152.4 x 223.5 cm
mounted
Temporal Dispersion: Sonoran Landscape #7, 2024
Cyanotype on hot press watercolor paper, trace elements of silica, plant materials, bone
32 1/2 x 28 1/2 in
82.5 x 72.4 cm
Cyanotype on hot press watercolor paper, trace elements of silica, plant materials, bone
32 1/2 x 28 1/2 in
82.5 x 72.4 cm
Temporal Dispersion: Sonoran Landscape #4, 2023
Cyanotype on cotton, trace elements of silica, plant materials, bone
77 x 62 in
195.6 x 157.5 cm
mounted
Cyanotype on cotton, trace elements of silica, plant materials, bone
77 x 62 in
195.6 x 157.5 cm
mounted
Temporal Dispersion: Sonoran Landscape #11, 2025
Cyanotype on cotton, trace elements of silica, plant materials, bone
50 x 66 in
127 x 167.6 cm
mounted
Cyanotype on cotton, trace elements of silica, plant materials, bone
50 x 66 in
127 x 167.6 cm
mounted
Temporal Dispersion: Sonoran Landscape #11, 2025
Cyanotype on cotton, trace elements of silica, plant materials, bone
50 x 66 in
127 x 167.6 cm
mounted
Cyanotype on cotton, trace elements of silica, plant materials, bone
50 x 66 in
127 x 167.6 cm
mounted
CAMERON GAINER
Temporal Dispersion: Sonoran Landscape #18, 2025
Cyanotype on cotton, trace elements of silica, plant materials, bone
83 x 60 in
210.8 x 152.4 cm
mounted
Temporal Dispersion: Sonoran Landscape #18, 2025
Cyanotype on cotton, trace elements of silica, plant materials, bone
83 x 60 in
210.8 x 152.4 cm
mounted
