PRINT January 1994


JASON RHOADES’ NEW YORK debut show, titled “CHERRY Makita—Honest Engine Work,” represented the culmination of an ongoing project: the re-creation, through several incarnations, of what variously could be seen as a mechanic’s or carpenter’s shop, a sculptor’s studio, and the suburban garage of an obsessive-compulsive hobbyist. The centerpiece was a ludicrously overblown drill (fashioned from a Chevrolet 350 V-8 engine, so large that it hung from a winch), which the artist would sometimes start up and use to bore holes in the wall of the mock garage that housed it. It was this futile contraption that inspired (or was inspired by) the name “Makita,” a leading manufacturer of drills and screwguns.

As for “Cherry,” Rhoades points out that it is hot rod lingo for a souped-up car. But the term is of course better known as slang for a woman’s genitalia, and within the macho den of the installation,

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