Yasue Maetake
Ascending Industrial Bouquets, 2016
Polyurethane resin, brass, steel, copper, postcard paper, oil paint
Andrew Erdos
Cauldrons, 2019
Glass, metal armature, wood palette
Andrew Erdos made Cauldrons by covering metal armatures with molten glass. Cauldrons and the glowing, mountainous Incantation, on view in the outdoor sculpture garden, look like primordial topographical forms, reflecting Andrew Erdos’ interest in geological time, or the era preceding human existence. Yet the presence of found wood palettes that form the base of the sculptures gestures toward industry, and likewise toward the human impact on nature. Erdos likens the material transformation from molten to solid glass to landscapes where intense topographical changes have occurred, either on Earth of in a hypothetical environment elsewhere in the Universe. “Despite living in an age where every aspect of life and art can be defined by academic categories,” the artist explains, “we cannot forget that art has always been magic.”
Yasue Maetake
Floor:
Untitled, 2019
Oil-painted wood, steel, animal bone
Pedestals:
Selections from Three-Legged Idol, 2013-2019
Found tree branch, sea shells, animal bone, peeled bark and aluminum pigment, copper, brass, and origami
Symbolic Atmosphere I-VI, 2019
Animal bones, steel, epoxy clay, wood, brass, coral
Free-standing:
Easeled Idol II, III 2017
Easeled Idol IV, 2019
Steel, aluminum, animal bone, oil paint, steel
Inspired by 17th century Baroque artists who sought to convey dynamism, motion, and drama in three-dimensional, static forms, Yasue Maetake’s sculptures often appear to defy gravity. Maetake supplants the human physique—a hallmark of Baroque art—with animal bones, referring to a body of indeterminate species. Small bone and bark tripods adorned with trinkets or origami evoke talismans, imbued with the desires and superstitions of their makers. From the way the sculptures appear to float on glass-topped pedestals, to unexpected material juxtapositions, Maetake describes her process as one of trying to conjure a futuristic image. While Maetake responds to a range of influences, including SciFi, Japanese manga, and European Art History, her abstract forms resist categorization, instead speculating on what art might look like in another time, in an unfamiliar place.
Yasue Maetake
Floor:
Untitled, 2019
Oil-painted wood, steel, animal bone
Pedestals:
Selections from Three-Legged Idol, 2013-2019
Found tree branch, sea shells, animal bone, peeled bark and aluminum pigment, copper, brass, and origami
Symbolic Atmosphere I-VI, 2019
Animal bones, steel, epoxy clay, wood, brass, coral
Free-standing:
Easeled Idol II, III 2017
Easeled Idol IV, 2019
Steel, aluminum, animal bone, oil paint, steel
Inspired by 17th century Baroque artists who sought to convey dynamism, motion, and drama in three-dimensional, static forms, Yasue Maetake’s sculptures often appear to defy gravity. Maetake supplants the human physique—a hallmark of Baroque art—with animal bones, referring to a body of indeterminate species. Small bone and bark tripods adorned with trinkets or origami evoke talismans, imbued with the desires and superstitions of their makers. From the way the sculptures appear to float on glass-topped pedestals, to unexpected material juxtapositions, Maetake describes her process as one of trying to conjure a futuristic image. While Maetake responds to a range of influences, including SciFi, Japanese manga, and European Art History, her abstract forms resist categorization, instead speculating on what art might look like in another time, in an unfamiliar place.
Yasue Maetake
Symbolic Atmosphere V , 2019
granite stone, assorted animal bones, steel, epoxy clay, wood
Inspired by 17th century Baroque artists who sought to convey dynamism, motion, and drama in three-dimensional, static forms, Yasue Maetake’s sculptures often appear to defy gravity. Maetake supplants the human physique—a hallmark of Baroque art—with animal bones, referring to a body of indeterminate species. From the way the sculptures appear to float on glass-topped pedestals, to unexpected material juxtapositions, Maetake describes her process as one of trying to conjure a futuristic image. While Maetake responds to a range of influences, including SciFi, Japanese manga, and European Art History, her abstract forms resist categorization, instead speculating on what art might look like in another time, in an unfamiliar place.
Yasue Maetake
Symbolic Atmosphere VI, 2019
Animal bones, steel, epoxy clay, wood, brass, coral
Inspired by 17th century Baroque artists who sought to convey dynamism, motion, and drama in three-dimensional, static forms, Yasue Maetake’s sculptures often appear to defy gravity. Maetake supplants the human physique—a hallmark of Baroque art—with animal bones, referring to a body of indeterminate species. From the way the sculptures appear to float on glass-topped pedestals, to unexpected material juxtapositions, Maetake describes her process as one of trying to conjure a futuristic image. While Maetake responds to a range of influences, including SciFi, Japanese manga, and European Art History, her abstract forms resist categorization, instead speculating on what art might look like in another time, in an unfamiliar place.
Yasue Maetake
Symbolic Atmosphere VI, 2019
Animal bones, steel, epoxy clay, wood, brass, coral
Inspired by 17th century Baroque artists who sought to convey dynamism, motion, and drama in three-dimensional, static forms, Yasue Maetake’s sculptures often appear to defy gravity. Maetake supplants the human physique—a hallmark of Baroque art—with animal bones, referring to a body of indeterminate species. From the way the sculptures appear to float on glass-topped pedestals, to unexpected material juxtapositions, Maetake describes her process as one of trying to conjure a futuristic image. While Maetake responds to a range of influences, including SciFi, Japanese manga, and European Art History, her abstract forms resist categorization, instead speculating on what art might look like in another time, in an unfamiliar place.
Yasue Maetake
Symbolic Atmosphere VI, 2019
Animal bones, steel, epoxy clay, wood, brass, coral
Inspired by 17th century Baroque artists who sought to convey dynamism, motion, and drama in three-dimensional, static forms, Yasue Maetake’s sculptures often appear to defy gravity. Maetake supplants the human physique—a hallmark of Baroque art—with animal bones, referring to a body of indeterminate species. From the way the sculptures appear to float on glass-topped pedestals, to unexpected material juxtapositions, Maetake describes her process as one of trying to conjure a futuristic image. While Maetake responds to a range of influences, including SciFi, Japanese manga, and European Art History, her abstract forms resist categorization, instead speculating on what art might look like in another time, in an unfamiliar place.
Yasue Maetake
Symbolic Atmosphere VI, 2019
Animal bones, steel, epoxy clay, wood, brass, coral
Inspired by 17th century Baroque artists who sought to convey dynamism, motion, and drama in three-dimensional, static forms, Yasue Maetake’s sculptures often appear to defy gravity. Maetake supplants the human physique—a hallmark of Baroque art—with animal bones, referring to a body of indeterminate species. From the way the sculptures appear to float on glass-topped pedestals, to unexpected material juxtapositions, Maetake describes her process as one of trying to conjure a futuristic image. While Maetake responds to a range of influences, including SciFi, Japanese manga, and European Art History, her abstract forms resist categorization, instead speculating on what art might look like in another time, in an unfamiliar place.
Yasue Maetake
Symbolic Atmosphere IV, 2019
granite stone, assorted animal bones, steel, epoxy clay, wood
Inspired by 17th century Baroque artists who sought to convey dynamism, motion, and drama in three-dimensional, static forms, Yasue Maetake’s sculptures often appear to defy gravity. Maetake supplants the human physique—a hallmark of Baroque art—with animal bones, referring to a body of indeterminate species. From the way the sculptures appear to float on glass-topped pedestals, to unexpected material juxtapositions, Maetake describes her process as one of trying to conjure a futuristic image. While Maetake responds to a range of influences, including SciFi, Japanese manga, and European Art History, her abstract forms resist categorization, instead speculating on what art might look like in another time, in an unfamiliar place.
Yasue Maetake
Symbolic Atmosphere IV (2019)
granite stone, assorted animal bones, steel, epoxy clay, wood
Inspired by 17th century Baroque artists who sought to convey dynamism, motion, and drama in three-dimensional, static forms, Yasue Maetake’s sculptures often appear to defy gravity. Maetake supplants the human physique—a hallmark of Baroque art—with animal bones, referring to a body of indeterminate species. From the way the sculptures appear to float on glass-topped pedestals, to unexpected material juxtapositions, Maetake describes her process as one of trying to conjure a futuristic image. While Maetake responds to a range of influences, including SciFi, Japanese manga, and European Art History, her abstract forms resist categorization, instead speculating on what art might look like in another time, in an unfamiliar place.
Yasue Maetake
Selections from Three-Legged Idol, 2013-2019
Found tree branch, sea shells, animal bone, peeled bark and aluminum pigment, copper, brass, and origami
Small bone and bark tripods adorned with trinkets or origami evoke talismans, imbued with the desires and superstitions of their makers.
Yasue Maetake
Selections from Three-Legged Idol, 2013-2019
Found tree branch, sea shells, animal bone, peeled bark and aluminum pigment, copper, brass, and origami
Small bone and bark tripods adorned with trinkets or origami evoke talismans, imbued with the desires and superstitions of their makers.
Yasue Maetake
Precarious Windbreak, 2019
Polyurethane resin concealed iron rust, aluminum powder and copper corrosion on boiled and beaten mulberry bark (kozo) and cotton pulp, cane, steel, bronze
With a visual vocabulary that is abstract but allusive, Yasue Maetake’s large, free-standing sculptures evoke flora, fauna, and unknown hybrid organisms, perhaps emissaries from a post-apocalyptic future. Maetake incites extreme transformations in materials—both raw and found—through casting, welding, burning, and oxidization. As a result, the sculptures appear to be in arrested states of degeneration, their surfaces charred, stained, and rusted. Yet Maetake describes her process as one of “reverse entropy,” suggesting a process of coming into being rather than lapsing into decay.
Andrew Erdos
Cauldrons, 2019
Glass, metal armature, wood palette
Andrew Erdos made Cauldrons by covering metal armatures with molten glass. Cauldrons and the glowing, mountainous Incantation, on view in the outdoor sculpture garden, look like primordial topographical forms, reflecting Andrew Erdos’ interest in geological time, or the era preceding human existence. Yet the presence of found wood palettes that form the base of the sculptures gestures toward industry, and likewise toward the human impact on nature. Erdos likens the material transformation from molten to solid glass to landscapes where intense topographical changes have occurred, either on Earth of in a hypothetical environment elsewhere in the Universe. “Despite living in an age where every aspect of life and art can be defined by academic categories,” the artist explains, “we cannot forget that art has always been magic.”
Andrew Erdos
Incantation, 2019
Glass, wood palette
Andrew Erdos
Incantation, 2019
Glass, wood palette
Andrew Erdos and Yasue Maetake (indoors)
Untitled, 2019
Glass, aluminum, steel pipes
Andrew Erdos
Astral Projections, 2015-2019
Video
Yasue Maetake
Untitled, 2019
Oil-painted wood, steel, animal bone
Barry Underwood
Linear Construction (Ido’s Cube), 2018
Barry Underwood
Chesterton, IN (for Konrad), 2018
Barry Underwood, L: Trace (Blue), 2008; R: Lake Erie, 2016
Barry Underwood, L to R: Linear Construction (Ido’s Cube), 2018; Erie, Pennsylvania, 2017; Horseshoe Lake (Spillway), 2019; Deford, Michigan (Logs), 2019; Chesterton, IN (for Konrad), 2018
Yasue Maetake
(left) Symbolic Atmosphere V (2019)
granite stone, assorted animal bones, steel, epoxy clay, wood
(right) Three-Legged Idol, 2017
Found tree branch, sea shells, animal bone, peeled bark and aluminum pigment, copper, brass, and origami
Yasue Maetake
Selections from Three-Legged Idol, 2013-2019
Found tree branch, sea shells, animal bone, peeled bark and aluminum pigment, copper, brass, and origami
Small bone and bark tripods adorned with trinkets or origami evoke talismans, imbued with the desires and superstitions of their makers.
Barry Underwood
Erie, Pennsylvania, 2017
Barry Underwood
Horseshoe Lake (Spillway), 2019
Barry Underwood
Theatre (MacDowell), 2012
Barry Underwood
Linear Construction 11 (Shaker Heights, Ohio), 2019