It seems fitting that one of South Africa’s most subversive young artists should work from a disused outbuilding on the fringes of an upmarket housing estate on the KZN North Coast.
It’s against these rough brick walls and peeling floors that Cameron Platter creates the infamous pencil-crayon pastiches and installations of politics, consumerism and sex that have shown in museums such as the Museum of Modern Art in New York.
He sculpts his themes from jacaranda and avocado wood but for that his studio is an assistant’s back yard in Umlazi. Ceramics and videos, shown recently at the Centre Georges Pompidou in Paris, take shape at the kitchen table of the home he shares with his partner Gwyn and daughter Lily Rose.
‘I’m a post-studio, studio artist,’ he quips dryly.
This excerpt was originally published in HL April 2013