In this, Cameron Gray’s most recent body of work, he addresses politics, religion, ideology, nature, commerce, media and the human propensity for violence with a set of “paintings” that are painstaking assemblages of credit card size mini-tableaux, cleverly put together to form portraits. He does this by employing a most unique method of digital, network manufacturing. His work begins as digital studies, which are divided into hundreds of small pieces and then sent out to a group of artists composed of personal associates, professional colleagues and Internet correspondents. By breaking the painting down into a grid of pixels and outsourcing the work, Gray builds a virtual factory by way of the Internet. Each painting is comprised of several smaller paintings. The smaller images used are thematic and play a vital role in the depiction of the larger image.