Magazine article Sculpture

New York

Magazine article Sculpture

New York

Article excerpt

Tegppei Kaneuji

Jane Lombard Gallery

Entering the world of Tokyo-based sculptor Teppei Kaneuji is like walking into a funky workshop gone awry. Quirky combinations of tools, surreal arrangements of household objects on barbecue grills, towers of Claes Oldenburg knock-offs, and black and white stuffed toys collide to create a phantasmagoria of color and action. In "Deep Fried Ghost," his first U.S. solo exhibition, Kaneuji displayed his inventiveness through five series of works (made from 2004 to the present) that re-evaluate the significance of assemblage by taking sculpture to new levels of amusement, fascination, and serious thought.

In the "Ghost in the Liquid Room" series, spooky-looking contraptions defy definition. Made of inkjet prints, paper, wood, urethane coating, and clamps, angled and intertwined shapes prompt unexpected feelings of angst and unease. Images of smooth-flowing gray liquid laminated onto wood with a wavy grain resembling rapids combine with curvy, snake-like shapes, tangles of metal, and pointed, spear-like ends as these mundane forms transmogrify into slithering tensile objects. In Ghost in the Liquid Room (slime and foundation) (2015), strange protruding hands holding slimy goops of apple-green paint evoke ghouls-inducing nothing but the jitters.

Kaneuji's technique and process are paramount to his ability to arouse dread and bring unpredictable emotions to the surface. Influenced by Japanese manga and anime, which imbue cartoon imagery with threedimensionality and life, his "White Discharge" series consists of household objects covered in poured white resin. Resembling snow-capped Christmas trees from afar, kitchen utensils, toys, and knickknacks purchased from 99-cent stores are amassed to form large drippy white mounds. Erected on foldable tables and plastic containers, these eerie ghost towns and frozen abandoned houses loom large. …

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