Cameron Martin’s work feature overlapping and underlapping forms, patterns, and transparencies that tap into the histories of abstraction and present-day digital interfaces. Drawing upon a growing lexicon of “almost-signs,” his paintings and drawings engage a viewer’s recognition of familiar forms and their associative meanings without explicitly stating their significance. Paradoxical notions of handmade mechanization, dimensional flatness, and illustrative abstraction encourage viewer's to slow down, look closely, and try mediate these seemingly contradictory forms and processes.

Martin's large-scale paintings "Departure" (2024) and "Imprint" (2025) continue to complicate the figure/ground relationship while drawing upon additional associations of line and form. The twisted, crisscrossing pathways seen in these works are situated amongst other pictorial material including cutout frames, circular apertures, geometric shards, and offset borders. A close examination reveals shadows behind certain shapes, but there remains a sense that representational ground doesn’t fully add up. As often occurs with Martin's works, the initial impact of legibility dissipates into new visual terrains.