Keiichi Tanaami at Nanzuka

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Carved specificity gives them the monumental quality of signs, of icons without referent, a sort of totemic obscurity, less culturally reflexive than Pop art, and all the more hallucinatory for it.

See too, “Puddle, pothole, portal” at Sculpture Center ,

Keiichi Tanaami at NANZUKA



The visual assault of these falling somewhere between Lari Pittman and Ed Roth. A Yakuza tattoo or A Fiona Rae orgy of style, uncomfortable in its over stylization. An irruption of subliminal psychedelic terror, mocking visual space in its demolition of it. A type of work pertinent in the age of overwhelming information, when looking at these  feels a lot like opening one’s e-mail.  A pleasure of the frenzy tinged in a sinking darkness. Holding some kind of abject unconscionable terror, sculptural nightmares.
The Frenzy of the visible, a hardcore visual. A violence of information.

Also, what is with artists of this generation and Mickey Mouse, with artist’s childhoods rendered so prominently mid-career.