Toronto

View of “An Te Liu,” 2019. From left: Shadow, 2018; Coup d’oeil (A Look), 2018.

View of “An Te Liu,” 2019. From left: Shadow, 2018; Coup d’oeil (A Look), 2018.

An Te Liu

Galerie Division | Toronto

Recently, An Te Liu has been mining his dilapidated Honda Civic for material. One procedure yielded two elongated and pointed plastic forms from a headlight’s housing, which the artist cast with a concoction of polycarbonate, epoxy clay, wax, and granules of quartz. Hanging by a wire from the ceiling, Surfacing (all works cited, 2018) resembles a duo of motor blades (with holes for screws), and yet the forms have been modified and grafted to each other in ways that suggested organic tissue, perhaps a pair of wings taken from a creature of unknown origin. Also on view and suspended from above in his exhibition at Division Gallery, The Named and the Nameless consists of a similar set of joined limbs, here made precious through the laborious application of gold leaf, perhaps completed long ago, as its surface appears worn. Slowly rotating and shimmering in midair, the work encourages reverence,

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