Naoki Sutter-Shudo — Galerie Crèvecœur
Naoki Sutter-Shudo presents a delightful exhibition of sculptures at Crèvecœur Gallery combining works that are as enigmatic as they are familiar. There, tension between delicacy and harshness, between artisanal precision and poetic strangeness, makes each material the tone of its own daydream.
The ensemble unfolds as freely in space as the punctuation-free title Le sol l’humeur le ciel et les murs suggests: sharp angles, blunt silhouettes, and the icy reflections of heavy metals whose precision, refined assembly techniques, and ornamentation lend an insolent authority that challenges logic itself.
Each piece carries its own function—and thus its own equilibrium—within this technical herbarium at the edge of rationality, where the softness of a lacquered surface offsets the austerity of right angles, where the threat of blunt forms pairs with the sensuality of full, gleaming spheres, where the apparent solidity of fastenings contrasts with a fragile extremity. A poetry of opposites and materials that, beyond a convincingly incongruous consistency, reveals an attentiveness to form that only time can fully uncover. A time with uneven progression, in which the very formalization of sculpture contains within it a confrontation with the elements—but also with interpretations, styles, and aesthetics. The works construct a mental landscape where each volume suggests a narrative, a reimagined function, a parallel logic.
As if emerged in the flash of a fleeting vision, these assemblages nonetheless seem perfectly equipped to face the test of their potential use—ready to be weathered by time as much as by the elements. From the interior, one projects outward with structures meant to be set on benches; from stillness, one anticipates future manipulation.
This way, Sutter-Shudo’s works transcend their status as tools to become almost architectural inventions, meant to be inhabited over time. They thus assert themselves as utterly singular entities, whose compositions—though they speak of both present and past through the use of salvaged elements—are immediately inscribed within a future.
Their functionality, whether readable or not, is already destined to fade behind the pure presence of the object, allowing, through the absence of obviousness, the ghost of a story to linger—its random truthfulness doing nothing to diminish the reality of its exquisite and “surfunctional” revelation.
Naoki Sutter-Shudo, Le sol l’humeur le ciel et les murs, Crèvecœur, Paris, 5 & 7 rue de Beaune, Paris 06.06 — 07.26.25
