new-york

Thomas Kiesewetter

Jack Tilton Gallery

Blech: In English, an expression of disgust; in German, a term for high-gauge sheet metal. On view recently in his first solo show in the United States, Thomas Kiesewetter’s untitled blech sculptures are all the more appealing for the baseness of their material. Formed from what look like found fragments of discarded machinery—chutes, tubes, quadrilateral panels—they come across as both high-rise urban and barnyard rural. Each is painted carelessly in a single color: dirty white, faded lavender, safety orange. Attached to rude wooden plinths, these screwed-together constructions are at once tabletop sculptures and large freestanding pieces. With their shifting sense of scale, it’s almost as if they’re representing silos, smokestacks, and weathervanes with parts from the real thing. Though abstract, they feel decidedly like models: One almost but not quite recognizes the low, curved entrance

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