Five Feet
by Wyatt Naoki Conlon, Jun Fujisaku, Andre Herrero, Felix Kultau, Haydée Touitou
Feb 25 - Mar 24, 2024
"Cabriole legs" refer to the legs of chairs or tables designed with the motif of animal legs. The term "Cabriole" originates from the French ballet term, meaning the shape of the legs during a leap, carrying the connotation of bouncing or leaping. Cabriole legs not only provide visual decoration but also bring lightness and nimble They are delicate yet sturdy legs, designed to be both elegant and functional, offering excellent mechanics. The ground beneath us sometimes feels shaky, from personal matters to societal situations. For this exhibition, five artists created feet (or feet-like ) that are nimble, delicate yet strong, and able to stand independently.
"Cabriole legs" refer to the legs of chairs or tables designed with the motif of animal legs. The term "Cabriole" originates from the French ballet term, meaning the shape of the legs during a leap, carrying the connotation of bouncing or leaping. Cabriole legs not only provide visual decoration but also bring lightness and nimble They are delicate yet sturdy legs, designed to be both elegant and functional, offering excellent mechanics. The ground beneath us sometimes feels shaky, from personal matters to societal situations. For this exhibition, five artists created feet (or feet-like ) that are nimble, delicate yet strong, and able to stand independently.
Have you ever joked
About your foot fetish
Do you prefer one foot
Or two feet best
How about five feet then
Come through the keyhole
Welcome in your fetish as only
One can enjoy at a time
Feet to fit your palm
Because we know about
Your hand fetish too
– Haydée Touitou
Haydée Touitou, Counting your toes, 2024, Ink on paper, 2.8 × 2.8 in (7 × 7 cm),
With artist wood box, 7.8 × 7.8 × 17.7 in (20 × 20 × 45 cm)
“And just beyond the bend in the path, between mountain and precipice, where the sunlight slipped athwart the boughs of the rust-coloured firs, it actually fell out, the wonder came to pass, that Hans Castorp, on Joachim’s left, overtook the fragile fair one, he went by her with a manly stride, and then, at the moment when he was beside her, on her right, greeted her with a profoundly respectful, hatless inclination of the head, and a murmured „good-morning,” to which she answered by a friendly bow, that showed no trace of surprise, and a good-morning in her turn. She said it in Hans Castor’s mother-tongue, and smiled with her eyes. And all that was something different, something fundamentally and blessedly other than that look she had bent upon his boots - it was a gift of fortune, an unexampled turn in affairs, a joy well-nigh beyond comprehending, it was the blessed release.”
—Thomas Mann, The Magic Mountain, 1924
Felix Kultau, Hans in luck, 2024
Porcelain, 7.4 x 3.5 x 3.5 in (19 x 9 x 9 cm)
Jun Fujisaku, Nonfixed Foot, 2024
Wood, stone 7.8 × 7.8 × 9.4 in (20 × 20 × 24cm),
With artist wood box 20 × 15 × 15 in ( 50,8 × 50,8 × 60,9 cm)
“Ishiba-Date is a traditional Japanese construction method. In this method of building foundations, the pillars of a building are placed directly on top of stones embedded in the ground.
When lateral forces such as earthquakes occur, the pillars slide on the stones, thereby educing the impact on the entire building and preventing it from collapsing.
As may be the case in any era, natural disasters due to climate change, personal events, and everyone believes that we are now living in uncertain and unstable times.
No matter what happens, there is a desire to stand lightly, not losing sight of what is important, and to pass on what is unpleasant.
I superimposed such thoughts on the footing of traditional Japanese architecture.”
Naoki Wyatt Conlon
p.858-859 (Diorama) – Found Objects and unbound Double
Double, Protein Style, Animal Style with a Strawberry Shake and Chips, 2024
Alarm clock, ink on paper, 7.8 × 9 in (20 × 22,8 cm), With artist wood box,
7.8 × 7.8 × 17.7 in (20 × 20 × 45 cm)
“The medium is a simple 3D holographic display for this project. Conceptually speaking to the blurring of our digital and spatial selves. The fetishistic act of peering through a keyhole evoked concerns about privacy and security, which is so abstract and invisible in the digital world and conversely represented as heavy and concrete in the physical world.”
-Andre Herrero
Andre Herrero, Internet feet, 2024
Mixed media, 3d holographic fan projector
5 × 3 × 3 in (12.7 × 7.62 × 7.62 cm), With artist wood box 7.8 × 7.8 × 17.7 in (20 × 20 × 45 cm)
©2024 by Aika Miyake.