I was very interested to find that on Jun Kaneko’s website under “public art” you can find the in-situe renderings and schematics of proposed works paired with the finished gambit. A helpful thing for any artist. Kaneko’s work does not change drastically when entering the public sphere or when paid for with public dollars. This is something that intrigues me, yet outside with lines in the cement and stands to raise them high the work command the outside space (see Ji and me posing with the one in Toronto). Inside as I’ve seem recently at the Harn museum there is a small (for Kaneko that is) red and yellow stripy thing, an earlier work, less lush and commanding much less….
Also check out the Kaneko Institute “An Open Space for your Mind” too a project, a mighty project, that exemplifies the breadth of Kaneko’s ability and vision.
One of the things I appreciate about Jun, as said before, is his ability to talk the ceramic art object in a big publicly accsessable way and be true to ceramic colour (melting, layers, stiffness) and form (be damed sagging clay and hello volume). As is so often the case with successful artists the trend is to abandon a craft to be versatile and explore well…. Kaneko’s set and costume design is sort of amazing- he would never never have come to it without the thousands of sculptures. Super entreating and another example of process: http://www.junkaneko.com/images/uploads/JUN-MagicFlute-WEB.pdf