It’s a multidimensional, multimedia trip. It’s also space and time glued together into a chunk of solid wood, frozen into a schizophrenic image, and – may we say – a still time-lapse where polychrome sculptures come to life. And death! Welcome to the displacing world of Yoshitoshi Kanemaki. An artist who is able to extract a contemporary version of existence from a tree trunk. It reminds us of a futurist post-attempt to capture movement, but Kanemaki goes beyond the kinetic expression of dynamic figures. He brings to life (and death) also the erratic soul of us, human beings, building a bridge between states. His figures are alive and dead at the same time, as much as the medium is, being wood itself a living material and a dead tree. There is a splendid friction, a meeting of existential topics that resonates between the powerful strokes of his chisel. That’s a lot of stuff, really. Wood for thought. But this artist is extraordinary for being able to convey also the morbid topic with a childish, Jeff Koons-like, style. Is it kitsch? Naive? We can’t answer to that. Because, at the end of the day, these sculptures are enveloped into something not fully deployed, a non-finito from a Gothic Michelangelo who gets in touch with fairy tales.