By Alec Clayton
Published in the
Weekly Volcano, June 21, 2018
 |
“Digital Mesh” print by Guy Hundere, courtesy Minka
I hardly know where to start. There is so much art crammed
into this little space — basically three shows in one — that I need at least a
thousand words to simply describe it, much less evaluate it. I shall do my best
to consolidate it.
The West is a show of photography and artwork by S. Surface and Lisa Kinoshita offering a
unique look at cowboy and cowgirl culture. It is two shows in one: The First Frontiers, rodeo photographs
by Surface, and Kinoshita’s The
Shape-Shifting West, conceptual documentary photography and
mixed-media sculpture in the main gallery. The third show is Inflatable Mountain by Texas artist Guy Hundere in the downstairs
shop. It is a mind-bending group of colorful abstract landscape prints that has
traveled the country to land in Tacoma for an extended stay (indefinite, but
(probably throughout the summer). The works are abstract with hints of
astronomical photographs, densely congested with textural patterns. They demand close
attention.
In the little upstairs
gallery, Surface and Kinoshita bring a particular perspective to their
views of the West. Both are Japanese-Americans born and raised in rural areas
near Tacoma. Surface is a former bull rider.
Surface’s
photographs are the most traditional work in the show. Most of the action shots
of cowboys riding bulls are shot from odd angles and often in close-up. There’s
one, for instance, of a cowboy being bucked off a bull, but the viewpoint is
such that all we see is part of one pantleg and the underside of his boot as he
is being thrown to the ground behind the bull. Others appear to have been shot
from standing atop the pens just before the bulls and riders are let into the
arena.
There is also a group
of three portraits of young women — glamour shots, it might seem, of pretty girls
who follow the rodeo. But each is titled “After the Ride” followed by the name
of a rodeo. Their legs are heavily bruised.
Kinoshita's metalsmithing and leatherwork, including a
collaboration with prison inmates in Montana, highlight the material culture of
the western frontier.
The most provocative
piece might be the found-material sculpture of an American flag draped over an
antique ironing board. Provocative because anything dealing with the flag these
days tends to be a political hot potato. This flag is ancient, probably 48
stars but not countable due to the way it is folded. It is worn and dirty, the
white parts turning brown. There is an old iron sitting on it, and it is burnt
through in places. We may each interpret the meaning in our own way.
Another piece of hers
is a beauty called “Grandfather.” It is an upright cabinet made of dark wood
with a top section like a grandfather clock but missing the clock face. The
middle section is offset as if swiveled outward, and there is a large piece of
quartz on the base. It is quietly attractive.
Also quite beautiful
and stately is a horse bridle draped and wound over a wooden stand. This piece
is sensuous in form and rich in color. It was created in collaboration with
inmates at Montana State Prison.
The West, noon to
5 p.m., Thursday-Sunday and by appointment, through June 30, Minka (formerly
Moss + Mineral), 821 Pacific Ave., Tacoma, 253.961.5220
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