Fucking Fruit

Banana Scultpures By Keisuke Yamada

Death by Party | Banana Scultpures By Keisuke Yamada

Key And PeelWhilst the name Grand Nain most likely won’t prompt any bell ringing, our mass consumption of it is unequivocally on the daily scale. It’s used anywhere from pratfalls to sustenance, from a depression eradicator to a supposedly fun trick you’ll never show the Cheerleading squad again. The empiric and not-so evidentiary stories pile up on this thing. Some approach them with disdain, and still make them a largely purchased item. You’ve seen them so much that prosaic is their visage… until now. Keisuke Yamada lurrrves them with an almost academic sense. His aberrant display of affection for the fruit transcends any conceivable thought. Play with your food? Yes please.

The subjects at hand are painstakingly handcrafted in lapidary detail. I’ve surveyed ice sculptures at Weddings where profundity is key, sipped vodka from hand-carved watermelons that ought have carte blanche in the Guggenheim, and eviscerated coconuts that serve as chalices for a wicked good Rum Cannonball. All of these could not compare to the unheralded majesty that is this guy’s talent. I now feel that every bite we take of this peeled meal, we cadge the aethers to put us on trial for pissing on such a beautiful blank canvas. Mein mien is not hyperbolic, I assure you.

We’ve all sculpted microcosms with our sustenance one time or another. As a kid, mashed potatoes were never my proverbial sandbox. I used apples. They were a factitious means to whittle away a headache or to induce one. The end result was never beautiful nor edible (they looked shitty). The upswing was that I could consume the detritus and stead of me feeding art, art was feeding me. Ignominious of nothing, I would still do it again… but then I take a step back, and recuse myself of the monopolization that Yamada has. It’s still good to eat a flowering herbaceous plant, but just be assured that you might be wasting away the next masterpiece. Talk about a Cluster-fuck.

By Robert Kijowski

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