In the most ingenious of ways Cameron Gray’s two new shows at The Robert Berman Gallery in Santa Monica are the literal inversion of one another. Under the masterful alias of Yarg Noremac (his name spelled backwards) Cameron Gray has created a counter show that falls in direct dialogue with his show in the main hanger of the gallery. The two shows settle into a similar mosaic aesthetic that is commonplace in all of Gray’s work; however the slight variations in subject matter and composition make the two shows appear to be from the hand of two different masters. To the untrained eye, the shows effortlessly pass as the work of two different artists, and even more cunningly as two artists in direct competition with one another.
The main show “We’re All Doomed,” is a compilation of pieces that highlight Gray’s established style. This show is quintessential Gray: hand-painted wood tiles assorted into a mosaic image, essentially creating pictures out of pictures. With astonishing ingenuity the individual images on the petite woodblocks inform the over-all picture. Cleverly entitled Communion, Gray transforms minute images of the most delectable treats into the solemn image of Jesus Christ. Who knew the body of Christ could be so sweet? The illustration of various forms of guilt and consumption in this piece are unmistakable. Much like the formula of life, Gray’s work is the sum of all its parts, where images of babies, and boobies, and guns are pieced together to create a brilliant flower. In an astonishing 
Monument to our Doomedness, he shows us that the passing of our lives can be summed up to a collection of images that flash before our eyes. A repetitive composition of sex, drugs, and rock n’ roll pattern each piece, emulating the monotony of our lives. Our fate has been sealed and we are doomed to find death placed within inches of our precious lives.In a direct and obvious opposition to his main show, Gray’s alter ego, Yarg Noremac has created a body of work that responds to this bleak outlook.The work feeds from the sentiments of generations X & Y, that in light of our evident demise the best resolution is apathetic bliss. “Enjoy It while You Can” is the ultimate counter-cultural reaction to the cultural media wars that bombard our every air wave. Yarg creates images of screaming, sweaty youth engaged in the most liberating act of worship: a live music concert. In complete juxtaposition to the other show, Yarg works from the outside in. Though each piece is in similar mosaic style, it is evident that Yarg begins with a single image that he breaks apart. He focuses on different angles of the same image, like a movie camera, creating quick cuts to chop it up.
The metaphors of broken angry youth are abundant in this show. In opposition to our media-centric society, that resides in a constant shade of amber alert, the next generation chooses to face the looming list of woes by finding solace in a communion of angry disinterest. The youth of our culture, with little to no anticipation for the future, choose rather, to focus on enjoying the here and now. Surely We Will Live Forever in the ecstasy of ignorance, for the next generation to inherit the earth prefers to focus the camera on life, not death.
