Yutaka Sone: Renaissance Society.
But we shouldn't lose the precipitation for the forest--as the show's title indicates, it is snow that concerns Sone, and the various works scattered around the gallery's walls, floor, pedestals, and vaulted ceiling offer an exhaustive inventory of it. Snow is represented in various guises, from purely natural phenomenon to plaything for humans. The artist's cataloguing of its components and applications appears almost giddy, even when partially obscured by the tree line.
From both rudimentary and highly detailed drawings scattered across the gallery's ceiling as if falling from the sky, to marble, plaster, papier-mache, and crystal carvings, almost all of Sone's works revisit the old chestnut that no two snowflakes are exactly alike. The flakes' dramatic hexagonal permutations create crystalline patterns that are reminiscent of the effusive decorative systems of Chicago architect Louis Sullivan. Sone makes the tiny monumental, isolating the ephemeral signature of each flake in the midst of endless accretion.
Sone placed the sculptures and paintings that dealt with snow's recreational uses around the edge of his environment. His modest paintings of mountains, snowy skies, and the like have an almost plein-air casualness that hints at a similar indolence in the enjoyment of snow as a signifier of elite tourism. But it's his marble sculpture Ski Lift, 2004-2005, that most readily solicits this reading. Running through a delicately carved pine forest is the intrusive structure of a ski lift, an et in arcadia ego gesture suggesting that nothing in nature is immune from human exploitation. Though rooted in the technology and nostalgia of a department store holiday fir tree display, Sone's environment won't play nature to its culture.
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|Title Annotation:||art exhibitions|
|Date:||May 1, 2006|
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