Trevor Smith on Teppei Kaneuji: Transcript

There’s two sorts of artists: those that begin with a clear vision of the desired outcome, then there are those like Teppei Kaneuji that play with what’s in front of them, building structures and surface in a more improvisational way. It’s kind of like jazz.

White Discharge is a great example of this. It’s made out of many objects that he probably sourced at a big box store. Brightly colored plastic objects are piled high on a backyard barbecue. Their contrasting colors are visually unified by a pour of white, plaster-like material.

It’s as if he’s using these functional objects to create a landscape for my imagination—kind of like a post-consumer’s version of a Chinese scholar’s rock. I can project myself into it as if it’s a real landscape and imagine playing on its ramps and exploring its crevasses. It’s a meditation on our culture of overproduction and overconsumption.

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