New York

Cusi Masuda

Azuma Gallery

My question isn’t restricted to painting. Cusi Masuda’s sculpture seems to depend on the dictum of eccentricity for interest. True, the whiteness of the strange plaster objects filling the gallery carries an expressive import. The Death Sand title hinting at possible associations. But the meaning isn’t clear, sensed. And I return to the objects. Most of the space is taken up by stacks of plaster window frames. The indents or windows sometimes closed off with plaster, sometimes left open as holes, sometimes covered with glass. On the floor in front, connected by a rope attached at either end and looped over one or the other of the frames, are heavy-looking, plaster projectiles. A sexual reference, given the openings? The aftermath of destruction, missiles and scattered remnants of buildings? I am left with just the objects, dumbly there. Other works group in pairs, one the inverse, inside out of the other. Two triangular hat shapes curving up from the ground. One with outsiderough, inside smooth; the other vice versa. Similarly two coffin boxes, one the visual result one would expect by flipping the other over. But what am I missing? Is it that these objects seem so much about a way of arriving at art? That they seem so acceptable, so ready to fit into what one knows as art?

Susan Heinemann