michael neve creates copper monoplane sculptures that glow with warmth under a sleek resin coating.
The look of the objects is warmly romantic, but the work is also as much about the human body as it is about the fleeting fleeting moment of moment. The plasticity of the fleshy protuberance, its softness, its fragility, gives way to a subtle tactile vibration that is both tender and ominous, like a human heartbeat. The work is a fitting tribute to an artist who is, in the words of the critic John Hattem, a master of the moment—one of the few artists who can create a work of such exquisite, direct, and undeniable beauty as is presented here.
michael neve creates copper monoplane sculptures that glow with warmth under a sleek resin coating. The work, depicting a woman being led by an angelic hand to a large, dark, thin metal table, is a powerful commentary on the violence of violence and the ways in which it is experienced. Other pieces include a small, cast bronze head whose neck has been mutilated by a spike, and a sculpture of a woman in a faded black dress and gloves, a gesture of violence that is also metaphoric. The black-clad woman in the table, the pale skin, the faded dress, the violence of the hand—all these elements contribute to the sensation of violence.The sculpture is also an allegory of violence, and the hand is used as a weapon. It is a representation of the hand, the projection of violence, the attempt to control it. In this case, however, it is the projection of violence that is controlled by the hand and not violence itself. In the same way, the hand is used to project the violence of the hand, to make it a weapon, but it is not a weapon. It is a projection of violence that is already a weapon.In this exhibition, neve also shows two paintings that have a similar mood. In one, the figures are shown in a dark, empty room. The room is darkened and the figures are isolated in the same way that the hand is isolated in the black-clad woman in the table. But there is a difference: the figures are not directly confronting the viewer, they are isolated. The same black-clad woman is shown in the same position, but the hand of the hand is not visible, and the hand is obscured by the darkness of the darkness. The hand is veiled by the darkness, and the darkness is veiled by the darkness. The hand is illuminated only by the light of the hand, which is invisible. The hand is an abstraction, an abstraction of the hand.
michael neve creates copper monoplane sculptures that glow with warmth under a sleek resin coating. These vessels are an amalgam of an ancient Japanese wooden statue, a modern, brightly colored ceramic vase, and a modern-day ceramic cup. The asymmetrical balance of the sculptures is balanced by the forms, which, while they may seem to be one material, are in fact more porous than most ceramic objects.The most engaging of the ceramics is Tanakas Blue Chair, a modern-day reenactment of a Japanese car, complete with reclining armchairs, a red seat, and a blue chair with a seat. Tanakas work is most impressive when it is at its most simple, and in this case it is most effective when it is most directly involved with the objects and materials that compose it. This is the case in Blue Chair, which is essentially a ceramic chair with a seat. The chair, which is also a sculpture, is placed on a base of rough sand. Tanakas blue chair is a highly polished object, and yet it is not so much an object as it is a sculpture, a sculptural form, and it is this sense of the object as sculpture that defines it.Tanaka is a highly skilled craftsman, and the art that he makes is as refined as a porcelain or porcelain-encrusted object is. It is a seductive and refined art, but it is seductive in a way that is at odds with the sensuality of the material, and this sensuality is the source of its power. Tanakas objects are seductive because they are seductive objects. The seductive quality of their material is so strong that it overwhelms any sensuality they may have. Tanakas use of ceramics is a seductive art, and it is this seductiveness that is what makes it the most interesting of his work.
michael neve creates copper monoplane sculptures that glow with warmth under a sleek resin coating. Though the subject matter is obviously the same, the order of presentation has been completely altered: Neve has replaced the humans and animals with the glassy plastic, while the sculptural elements have been flattened and altered to become the glassy objects. In the end, the objects do not look as realistic as they did in the past, but at the same time they are no longer the living portraits of the artist, but rather the parts of his body that have been disassembled.Neve has made a number of other works that are similar to the monoplane sculptures, but with a completely different conception of the medium. The artist has changed his methods of fabrication, in which the glassy object is made of resin and glass, and has also replaced the plastic elements with metal. The works are also cast in bronze and cast in bronze, in a process that is more or less identical to that of the monoplane sculptures.In this exhibition, Neve has also created a series of black-and-white photographs that show the artists body in various states of disorientation. The body is no longer a body, but a body that has been separated from the material world. In this sense, the body has become a container that is no longer an object, but a part of the body. The body has lost its identity as a body and is therefore no longer a physical presence. This transformation is similar to the one that occurs in the case of the monoplane sculptures, in which the body no longer exists as a physical presence and has become a phantom.Neve has created a body of glass that has lost its identity as a body, but has become a phantom. It is no longer a body, but a phantom that has lost its identity as a body. In this way, Neve has created a body that has lost its identity as a body, but has lost its identity as a phantom.
michael neve creates copper monoplane sculptures that glow with warmth under a sleek resin coating. Some of the other pieces in the show also seemed to possess a whimsical quality, such as the 12-foot-long, ten-foot-long, and seven-foot-high ungainly piece, which is constructed of a wire and a bunch of string. But none of these pieces felt too cartoonish, and they all seemed to have a pretty refined look to them, with a hint of kitsch, or a slightly too-pale or girly pastiche. The most impressive piece in the show, a sculpture called Bellows Wheel, was also the most formal. A long metal rod with a hole in it hangs from the ceiling, like a bell, and, with its half-length, half-dozen feet, it looks like a lot of dumb, shiny metal. The piece has no handle, but the viewer can push it with a finger, and it turns into a huge ball of steel. The feeling is one of weightlessness, but it seems weightless enough to be real. The piece is almost like a giant, or maybe a pendulum, moving through space. It is also a beautiful sculpture, and one can see why it has been included in the Whitney Biennial. But it is definitely not in the same category as its neighbors in the Whitney show—and it is not in the same category as David Smiths work. It seems more like an object that someone made with a hammer and a saw, or a toy, or a giant glove. It doesnt look like much of anything else, and it certainly doesnt have the presence of a sculpture by Richard Serra. I was disappointed.The work of David Smith and David Robbins was not included in the Whitney Biennial, but there were several pieces by them. In this show, they combined pieces made in the studio with pieces that were found on the street. One piece was a box with a small hole in it.