New York

Zero Higashida

Philippe Staib Gallery

It is difficult to believe that this ensemble of wood and steel sculptures, accompanied by several oil paintings, constitutes Zero Higashida’s first solo exhibition. Ranging from the quietly poetic to the powerfully expressive, his work is precocious; it not only feels wise beyond its years, it literally looks old. Indeed, Higashida’s sculptures of split wood and torn metal covered by dull black ink look like charred relics. They hover ambiguously between the natural and the industrial, the found and the constructed, the raw and the refined.

Higashida’s sculptures unselfconsciously draw attention to process, featuring cuts and tears that suggest simple, direct gestures. This is especially true of metal works such as Drawing, 1989, a large, inked sheet of steel that alternately clings to and billows from the wall. Punctuated by four cuts on its periphery, the steel takes on the look of torn

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