Naoki Sutter-Shudo at Crèvecoeur

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The trinket functions like a flower, a desirous other, holding some promise. We don't know what it is for, but it feels for something. The flower was beautiful before we knew its sexual radish. A promise on its lips. "the fantasy of [function], that thing that serves us. Of course something erotic about that. A table accepts your feet on it, the meat grinder barfs sausage by the mile, generates. A complaint-less subservience, erotic." An object that gestures its need, its promise for, with wet eyes blinking.

See too: Matt Paweski at Park View/Paul Soto, Naoki Sutter-Shudo at Bodega (1), Naoki Sutter-Shudo at Bodega (2)

Naoki Sutter-Shudo at Bodega

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The PR's meter relates them to sun - "Sunshine made physical" - and not that dark shameful interior - the abyssal logs we pass like intestinal ropes, attaching us our immanence. The difference between what something is and what something represents. They are but sticks. Sunshine made physical. But oiled with elbow grease. Which makes them sensitive. Opens pores for interpretation. The break in between what something is and what something suggests: a function, poetic fissure. Tea leaves, turds, or sticks, when placed against porcelain, it's open. Suggestive and, more importantly, moistened.

See too: Yuji Agematsu at Lulu, Richard Rezac at Isabella Bortolozzi, Naoki Sutter-Shudo at Bodega

Naoki Sutter-Shudo at Bodega

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Trinkets, toys, and souvenirs, takeaway objects of little use but hold significance. The objects are total surface, tchotchkes are transactional objects made for the transference of the buyer's desire. The souvenir acts as a placeholder for tourists urge and must communicate this through look. The erotics of style, of desire, likely some vestigial expression of our sexual selection's wiring, which is why so many of them are cute. The distance from art is short, but a false canyon between.

The PR essay is good.