Kaneko rose to prominence in the 1960s as part of the California Clay Movement, a group of artists who redefined ceramics as a sculptural medium. Early in his career, he shifted from painting to clay after encounters with collectors Fred and Mary Marer, whose home was filled with experimental ceramics. That discovery led to a lifelong exploration of scale and form, eventually culminating in the creation of some of the largest freestanding ceramic sculptures in the world.
His studio practice remains rigorous and physically demanding. Large works can take years to complete, moving through cycles of hand-building, drying, sanding, glazing, and firing in a massive kiln he commissioned specifically to accommodate the scale of his sculptures. The process requires both technical precision and the intuitive responsiveness that defines Kaneko’s philosophy.
Kaneko’s monumental Dango forms and oversized heads, which appear throughout the exhibition, illustrate his recurring interest in the relationship between surface and mass. Though physically imposing, the sculptures are marked by subtle variations in pattern and brushwork, creating tension between their weight and their visual rhythm. His approach reflects what he has described simply as creative necessity.













![DEl Kathryn Barton [Australian b. 1972] the more than human love , 2025 Acrylic on French linen 78 3/4 x 137 3/4 inches 200 x 350 cm Framed dimensions: 79 7/8 x 139 inches 203 x 353 cm](/sites/default/files/styles/image_5_column/public/ab15211bartonthe-more-human-lovelg.jpg?itok=wW_Qrve3)



