They call it “progressive”.
No significant artist, and especially not Camouflage, can remain autonomous of social and political forces.
Nor she can stay behind of surrounding related impulses, products of flawed ideologies predicated on defective taxonomy.
Fixed social, political or aesthetic ideas are of great interest to Camouflage, especially when they are molded to fit preconceived theoretical expectations.
She is disdainful and dismissive of anything that feels like intellectualized amateurism, intellectual snobbery, angry young leftists whining and academic theorizing.
Camouflage is an ardent opponent of most things that are tired, intellectually bankrupt and complicit in the current social, political and economic crisis.
Camouflage, the most determined and abrasive American artist, doesn’t care if she is aggressively against the core of true “Sanders-nism” – the almost biblical admonition that people should be judged by what they say, not by what they do.
Camouflage, the Famous American Abstract Artist, can be blunt, cuttingly witty and specific in elucidating the web of influence and power operating in the world.