(Born in 1970)
Rock 'n' Roll is Not Dead
signed and dated 'Kaneshow; 2006' in English (on reverse)
oil, frp, acrylic lacquer & lacquer surfacer
129.5 x 162.5 cm. (51 x 64 in.)
Executed in 2006
Tokyo Gallery, Kanada Showichi, Tokyo, Japan, 2006, pp. 35 & 39. (illustrated)

Lot Essay

Sharks have been continuing central metaphors in both the two dimensional and three dimensional works of Showichi Kaneda. Kaneda views the behaviorism of a shark to be a perfect epitome of the behaviorism of human beings. Sharks are believed to never sleep or at least to be staying half awake in there sleep. The consciousness of a shark is always alert, continually on the move, alike the dynamism of humans that lasts till death. Kaneda condemns humans for they're circulating contradictory actions of instigating, compunction and re-instigating, as war and environmental pollution continues even after society's reflection on their actions. The voracious assimilation with the greed of becoming part of something greater is manifested in the shark's carnivorous hunger. Kaneda thus criticizes contemporary society's demand, gluttony and impatience.

In Huamn's Own Evo 4, (Lot 465) Kaneda utilizes sharks to displays his solicitude for society, which is unexpected in his very modern sculptures and in his diluted drawings. The shark like-modern racing car exterior embeds the inexhaustible pace of modernity in which humans live. The acrylic lacquers that Kaneda overcoats his sculpture with, were originally used for automobiles before polyurethane coatings were developed. The bright red glossy surfaces, ornamented with corporate advertisement stickers, resemble the contemporary scenery of today, but with his employment of outdated automobile paint, Kaneda indicates the inabiliy of catching up with the everlasting speed of modernization.

Kaneda's diptych work, Step on the Accelerator Beyond North (Lot 464) combines the title itself, the infinity symbol as well as the colored outlines of sharks to express the pace of modern society. Revealing his fine sense of humor, Kaneda ridicules society's endless race toward advancement by painting pacifiers all over the canvas. The subtly smiling, crowned monkey head emphasizes this feeling and pokes fun at human's unsatisfyable nature, which is also represented by the empty white space that goes along the center of the diptych.

As with his sculpture, he utilizes acrylic lacquer to provide gleam to the surface. His meticulous control of the paint conjures a deceptive corrosion of the painting. The murky depth of the ocean is created through multiple layers of gloomy tainted browns and corroded greens. The artist attentively paints in this manner to allow the viewer to use his visual liberty perceive a subjective image.

In Rock ' n' Roll is not Dead ( Lot 463) Kaneda presents sophisticated insinuations adjacent to the corporate tire logo "Bridgestone." The organic flow of beautifully composed color combinations and forms, stand in sharp contrast to the animal skull in the center of the paining, macaberly accessorized with sun glasses and white lilies. Along with the subtly inserted familiar corporate logo, the skull stands for professional car racers who mirror human's mentality of hunger to drive forward, regardless of the uncertainty of the road ahead and the occasional feeling of fear and anxiety while speeding.

In both his sculpture and his paintings, Kaneda combines numerous layers of references to culture, nature, technology, consumerism and philosophy. By hybridizing mass cultural images with organic forms, the artist's profound concern for contemporary existentialism is exquisitely delivered in his erudite selection of metaphors, symbols and his unique craftsmanship that display his artistic versatility.


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