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“Contorting Varieties” combines, in intelligent and fascinating methods, historic works by Masakazu Horiuti—a pioneering determine of summary sculpture in Japan—with latest works by Motohiro Tomii that function humble, on a regular basis objects.
By way of sudden configurations and juxtapositions, each artists are adept at increasing consciousness of formal constructions that permeate our ubiquitous surroundings. Tomii sportively locations Horiuti’s steel Dice (line), 1981, on the ground subsequent to his personal torso or fried rice #8, 2023—a concrete brick, upon which 4 socks are delicately draped; knocked off its (modernist) pedestal, the older, scuffed-up iron piece comes throughout right here as a type of aged plaything. Tomii’s GG, 2019, consists of only a pair of stacked bookends, positioned excessive on a wall as a sublime association of grey, metallic arches, whereas Horiuti’s stainless-steel Exterior of a Dice, 1990, performs a deconstructive critique of its personal, providing a splayed open field with mirrored, inside surfaces that yield complicated perceptual results as one strikes round it.
Resembling a flat-screen monitor, Horiuti’s Aircraft N-A, 1962, presents a satisfying patina in chocolate hues, together with two, curved rectangular kinds—the dimensions of cell telephones—which peel away on both aspect of the steel slab like items of paper. Pinned to a close-by wall, Tomii’s trio of collages—NR #12, NR #13, NR #19 (all 2016)—every merely encompass three pocket book pages, organized so their dominated strains align. Fluttering within the breeze, these humble papers provide a contrasting method to Horiuti—when it comes to materials and methodology of constructing—however with an analogous aim: a renewed appreciation of the geometric techniques which silently situation our day by day lives.
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