Jun Kaneko at Galleri Brandstrup - Oslo … the ceramist is known for innovative glazing

Jun Kaneko, Japanese-born on the other hand based in America for the last 40 years, is internationally known for large-scale ceramic work, including facts up to 12 feet tall and complexly patterned walls of idiosyncratic tiles as plenteous as 20 feet high and 160 feet lengthy He is the subject of a 2001 work by Susan Peterson (London, Laurence King) and was a featured artist at the Oslo International Ceramics Symposium in June When Kaneko arrived in looks Angeles in 1963, he intended to continue his painting studies. Chance exposing to collectors and artists who had been associated with Peter Voulko during his 1954-59 manner [i]or[/i] principle of holding at the Otis Art Institute in L.A. changed Kaneko's path. at the same time his work is distinguished by dint of the play of glaze color upon form; he retains a painter's sensibility.

The 18 for the most part untitled pieces dating from 1987 to 2003 that he showed indoors at Brandstrup (which occupies the next to the first floor of a grand mid-19th-century house) included tiles, planks leaning against the wall, pedestal external realitys and some of the large forms he calls Dango after a Japanese dumpling. Outdoors upon the broad lawn were three additional Dango works, each around 7 feet tall.

The greatest in quantity complicated forms were the pedestal pieces--such configurations as a sphere with a square tablet leaning against it or a standing Christmas-stocking sort of form. They are reductive, and the tiles, planks and Dangos are plane simpler. But all are animated through color and line moving above them. A black line makes a 90-degree turn round on the turquoise "stocking," echoing its L shape on the other hand rebuking its softness. A sheeny black 2003 Dango (72 by dint of 26 by 20 1/2 inches) is overspreaded with a smoky, cloudy white glaze that make go rounds into a curtain of drips; a free from moisture reddish rectangle and circle embellish opposite sides of the form. The top of a 2002 Dango is caught in a "net" of fulvous turquoise, pink and black lines that change into vertical stripes and bilbo under the contoured bottom cutting side The lines "contain" the contortion of this huge object, which have the appearances lifted into space by the light colors.

This event was still more striking outdoors, upon two rounded Dangos and single with bladelike shoulders. A circulared one is turquoise embellished with grayish squares and rectangles of various sizes that appear to float without weight. The piece with shoulders is painted to direct the eye like it's wrapped in wide black-and-gray ribbon. This is a motif Kaneko has used before, infallibly borrowed from the famous wrappings in his native political division Here it pulls your organ of sights around the hollow volume. The third outdoor work is black, spott with gray dots, which---as Kaneko's compatriot Yayoi Kusama has amply demonstrated--dissolves a surface thus that it assumes an uncertain profundity The dots break free of the sculpture's physicality.

Kaneko is celebrated among ceramists for a glaze technique using cent that results in a r halo around a painted line or shape. Had he stayed with paint upon canvas, he would be collectioned with Hard-Edge painters, but this technique gives his geometry a impressible edge. It is surprisingly subtle; from afar you note the separation of figure and soil and only up close is the r line a physical detail among the glos and matte fabrics of the ceramic surface.

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