CAMILLE  ALTAY (They/Them) is an artist, electronic musician, and builder based in Climax, New York. 
Camille works at the nexus of the tactile and the transcendental, informed by the evolution of identity and culture as shared burdens, and objects as ongoing conversations.  Whether with paint, sound, or physical installations, Camille’s work is engaged in a multi-disciplinary question of material limits, driven by a need to examine and expand the capabilities of each medium by applying pressure to the constraints of genre, and creating conditions of possibility for language and categorization.
“I tend to push materials, tools, equipment, constructions to their point of failure, just to see what they  prefer to do, how they resist, what stresses them out. When you think you know something, this is usually a door into the most surprising behavior.”
Altay was born in Chicago - the only accidental child of two young architects in the midst of a renovation. These years of lving intimately within an unfinished environment created an impulse to understand the language of spaces. This emerged first as a pursuit of painting and visual arts, and early professional work as a muralist. At the same time, formative experiences as an underage DJ in the rave scene fostered a deep connection with the physical and communal rituals of music.  
Altay’s late father was a passionate amateur pianist who interacted with classical compositions as if they were an invitation to carry on conversations of kinship across time. In this same spirit, as a child, Camille used a tape deck to create plunderphonic collages of radio recordings, transfixed by the mutability of a recording formed physically into iron oxide. Camille's works still reference the elasticity of technology, and a certain playfulness that results from new technological forms running into old.  A particular fascination with the identity crisis of early synthesizers – whether they were meant to be real instruments, or merely act like them – creates a fluid view of replication, interpretation, and subversion. Through an inquiry into categorization itself, Altay reshapes feelings of instability and otherness by bending the rules of materials, and re-orienting them into deeply meaningful transgressions.
"I am a queer + nonbinary artist, so this method is like approaching every idea from a point of synesthesia - it can be confounding. But my willingness to work across many disciplines has allowed me to find true family in my life.”
Altay’s process is guided by a conversational approach with each developing creation, and the unexpected feedback that comes from collaboration. The ability to bring materials to life “has always felt like a superpower, but doesn’t ever result in mastering something, instead it just becomes more nuanced and interesting” says the artist. But this is the point.  Rooms are made up not only of space, but time; music is not only frequency and vibration, but a complex psychoacoustic system made of materials like we are. There is no outside of the system. Move one body, distort one space, use another hand, and the whole collaboration changes. In this way, all is fair game - from field recordings, to sequential arpeggiation, to glitch and distortion – much the same way that Camille’s physical works play like instruments on concepts of nature, mortality, and utility.
Altay received a BFA from Concordia University in Montreal, and an MFA from Yale, as well as the Blair Dickinson Memorial Prize, presented to an artist “who demonstrates a developing consciousness, personal vision and spirit of search.”  Though identifying primarily as a painter, Camille is an original a member of the group Birds of Prey (Kathexis Records, Mysteries of the Deep), has a recent solo release on the Bunker’s long-form sub-label Going In, and currently collaborates with LA artist Israel Vines under the moniker CAIV, with the most recent release Dwellers EP out on Tresor Records. Camille lives and works in Climax, New York.
words by Benoit Pioulard, 2024.
MFA Yale University  |  Painting + Printmaking   2018
BFA Concordia University  |  Montreal, Canada  2008
2023  Live at Going In at Opus 40 | Kingston NY
Live at Mysteries of the Deep Variations | Brooklyn NY  
2022 Installation for Going In at Basilica Hudson | Hudson NY
Smhoakstock XII | Live stream
Live performance for the Color Clock @ Museum of Crypto Art 
2019 Yale Architecture Gallery | garden-pleasure
601 Artspace | New York
AREA gallery | Boston
2019 Faultline Journal of Arts and Letters
2018 MWTH Project | New York
Diane Rosenstein Gallery | Los Angeles 
Next to Nothing Gallery | New York 
Yale College | Office of the Dean

Wild Seed | Green Hall Gallery 
2017 The Ottoman Empire | Sam’s Space 
The Study | New Haven, Connecticut 
2016 Queering Space | Green Hall Gallery 
Chemistry Creative | The End | Brooklyn, New York 
The Tappan Collective | Los Angeles, California 
UNICEF Juried Exhibition | Los Angeles
2015 Mysteries of The Deep | Brooklyn, New York

2014 Leows Regency Hotel | New York, New York 
Mariner Silver EP | Navy Yard Records | NY001 
Bossa Nova Social Club | Brooklyn, New York 
Twenty Grand Studios | Brooklyn, New York 
2013 The Williamsburg Art and Historical Center | Brooklyn, New York 
National Underground | New York 
2012 The Blind Barber | Imagining Sisyphus Happy | New York

The Phatory Gallery | Beautiful Fields presents Phenomena | New York 
GO Brooklyn | Brooklyn, New York 
2010 Light/Weight | Ringwood, New Jersey

The Greenpoint Gallery | Brooklyn, New York 
Richardson Studios | Brooklyn, New York 
2009 The Delaware Center for the Contemporary Arts | Wilmington, Delaware 
Little Skips | Brooklyn, New York
Windows Gallery | Queens, New York 
2008 Veaux Gallery | New York 
Milio's | Chicago, Illinois 
Logan Square Artspace | Chicago, Illinois

2007 Millennium Park | Great Performers of Illinois Festival | Chicago, Illinois
La Société des Arts Technologiques | Pure Data Summit | Montreal, Quebec 
Galerie FOFA Concordia University | Montreal, Quebec 
2006 Foufouns Electriques | Montreal, Quebec
Concordia University | Art Matters Festival | Montreal, Quebec 
Salon Rouge | Montreal, Quebec

2005 Foufounes Electriques | Montreal, Quebec POP Montreal | Montreal, Quebec 
Concordia University | Art Matters | Montreal, Quebec 
2003 Trap Door Theater | Fringe Festival | Chicago, Illinois 
The Chopin Theater | Chicago, Illinois

2002 National Juried Exhibition of Student Works | Museum of Contemporary Art | Chicago

2018 Yale University | Blair Dickinson Memorial Prize 
2018 Basic Drawing | Yale School of Art Teaching Assistant | Professor Robert Storr 
2017 Basic Painting | Yale School of Art Teaching Assistant | Professor Molly Zuckerman-Hartung
2017 Yale School of Art | Travel Grant Institute for Investigative Living | Joshua Tree, CA

2016 Yale Center for Collaborative Arts and Media | Grad Fellow
2006 Concordia University | Fine Art Student Alliance Grant | Montreal, Quebec

2005 Art Matters Festival | Production Grant | Montreal, Quebec

2003 Gallery 37 | Artist Fellowship | Chicago, Illinois 
2002 Free Street Theater | Artist Fellowship | Chicago, Illinois

ECP Merit Award | School of the Art Institute of Chicago 
Gallery 37 Artist Fellowship | Chicago, Illinois

CAIV Dwellers EP | Tresor Records 
Melanie Klein Bottle | Going In
Deleuzians + Diagonals I+II | Self Released
Vanishing Point | MOTDLP004
Oath | Mysteries of The Deep 
Entropy EP | BOP003 
Orphan Anvil EP | BOP002 
Birds of Prey | Kathexis Records | KTX002 
Birds of Prey Nocturne EP | BOP001 
James Catchpole, A Closer Listen, review of Birds of Prey, September 7, 2015

Brian Kolada, Resident Advisor News, July 20, 2015

Brooks Barnes, "Clash of the Theme Parks," The New York Times, Monday, May 21, 2012, B1.

Nightlife Magazine  Montreal, June 2006.

No Commercial Value  Montreal, April 2006. 
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