Camil’s practice enacts possible ‘other’ functions for the dissemination of visual art (theatre, architecture and advertising to name a few). While her reuse of billboards as a promotional form highlight the failure of the commercial system, the notion of consumer culture draws attention to the spectacle of an art form centered on objects and things. Ever disarming, the tropical colour themes (cream, tan, blue, and purple, with brighter accents of yellow, red, and peach) offset the linguistic fragments of her ceramic series (Fragmento, 2014), which are as self-aware as their audience. Camil’s work is a consistently inquisitive attempt at making and re-making objects; be it performing a ‘negation’ of a work by the American choreographer Yvonne Rainer, resituating the Russian supremacist Kazimir Malevich’s black square in three-dimensional public space or her incessant reordering of fragments. The convergence between discrepant urbanisms and aspects of modernist culture form a site for the articulation of failure as a means of reinvention.

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