Huck Gee’s 2nd Annual Blank Show, Part Two

When Huck Gee introduced his Skullhead Blank sculptural form in 2015, its intent was to provide a basis for not just Gee but a multitude of other artists to build their original works of art upon, which is exactly the purpose of the 2nd Annual Blank Show. Curated by Gee himself, a diverse selection of artists were invited to augment and embellish either the Skullhead Blank or its relatively new evolution, the RE:BLANK (learn more here). And the results, displayed at Beacon, NY’s Clutter Magazine Gallery, encompassed a wide variety of artistic leanings and creative concepts, as already exemplified within this exhibition report’s first part (see here) and continued below.

Huck Gee’s 2nd Annual Blank Show, Part Two

Lisa Rae Hansen’s Skeletor (The Blank)

While the simple phrase “By the power of Grayskull” transformed Prince Adam into He-Man, it surely took a far greater amount of effort for Lisa Rae Hansen to alter the Skullhead Blank form into the likeness of the primary antagonist of the Masters of the Universe, Skeletor. Steeped in nostalgia for children of the ’80s, Hansen’s Skeletor (The Blank) has his yellow bare-bone skull surrounded by a sculpted hood, its perfectly toned blue skin partnered with the immaculately rendered black loincloth and purple armor elements. While its staff might attract the most attention, topped with a hand sculpted Skullhead rather than Skeletor’s traditional ram’s head, it’s the overall pristine execution and care to detail that makes this fantastic piece work, like the ‘duck foot’ shape of Skeletor’s feet being reinterpreted on The Blank form. And, for the truly sharp eyed, there is a glimpse of Skeletor’s neck included as well, a long debated aspect among fans of the cartoon.

JFury’s Prey No More

The artwork of JFury (Justin Phillips) became associated with clown designs, which have reoccurred frequently in his work since his earliest pieces in 2011, but another frequent concept has been the blue bunny, which first appeared as Dead Bunny in mid-2012. Though this newest iteration of the idea doesn’t seem overly worried about being hunted. In fact, by changing the RE:BLANK form into its armer, Phillips’ rabbit creation appears prepared to defend himself, thus the appropriateness of the title Prey No More.

Artmymind’s Kage

Perhaps denoting this piece’s predominantly dark attire and coloration, its title — Kage — is the Japanese word for “Shadow” (影). A perfect example of the Artmymind‘s aesthetic, the husband-and-wife team of Guillaume & Julia Lachambre have altered the form with careful precision, finishing their sculptural artistry off with delicately detailed paint applications. Carrying an oversized, handmade metal sword in one hand, the ultimate final touch is the specially tailored kimono attire the work wears.

Czee13’s Empties Revenge

Converting the RE:BLANK form into the likeness of a giant robot, this weathered and rusted mech is Czee13‘s Empties Revenge. Garnering its title from the artist’s own Empty (2017) creation, which is seen piloting the piece in the exposed cockpit, there’s a lovely symmetry between driver and vehicle, each with their own paint dispensing elements, the Empty‘s spray can nozzle topped Munny head and the RE:BLANK‘s “Spray Matix 3000” paint gun. But, moreover, there’s a haunting contrast in the pair’s eyes; the controller’s being excised and empty, his ride’s activated and illuminated.

Jon-Paul Kaiser’s Chih-Wei the Head Hunter

Per usual, Jon-Paul Kaiser masterfully controls negative space, summoning crisp black detailing to emerge from a form’s white surface. Using striking swaths of color to accentuate certrain elements, Kaiser’s Chih-Wei the Head Hunter piece features delicately rendered full sleeve tattoos, suggestive lines like water carrying blooming flower heads downward. And while the hands, with their sword accessory and hook hand modification, are deserving of attention, it is actually the work’s face that impresses the most; simple shapes transforming the cartoonish Skullhead elements into realistic looking nasal cavity and toothless jawline.

Jason Limon’s DROP

Decorated with a muted color palate that harkens a vintage feel, Jason Limon‘s piece is adorned with classic embellishments, flourishs and swoops that grant conformity to the whole through their parallel placements and individuality by virtue of their varied line widths. With boldly executed letters incorporated into the overall design, one seeks to read meaning into them, especially with the backside clearly reading “STOP” from top-to-bottom. But the title of the work, DROP, is a Rosetta stone, allowing one to note that the “DR” on the belly and the “OP” on the back form that word. Leaving the letters decorating the head, the crest reads “ORBS” while the main face contains “DOT”, terms that could reference the small circular ornamentations Limon used throughout the piece.

Fluke’s Kashimi

While a curated exhibit by Gee, he held an open submission process to discover three of the artists to be included, intended to allow the uncovering of new talent. One such artist was Flüke, or Fluke Graf, who created the piece Kashimi. Theoretically named after the Kashima Shrine, this Shinto temple is considered the birthplace of many influential styles of Japanese swordsmanship, or Kenjutsu. And this seems truly appropriate, given that Fluke’s contribution has sculpted armor encompassing him, an over-sized sword grasped in his hand. The kanji shi (死), or “death”, decorates his chest, reminding one of the Skullhead atop, which has the same subtle speckles painted upon it as adorn the plates of armor.


Clogtwo (Eman Jeman) began an illustration series in 2017 titled MechaSoul, each piece paying tribute to an iconic character by fusing their likeness with his own mechanical style, and his MECHASOUL BLANK contribution is his first publicly revealed rendition of this concept on a designer toy form. Creating a beautifully symmetrical assemblage of parts on the face, the typical focal point of MechaSoul works, Jeman’s RE:BLANK modification is strikingly black with pops of safety orange to catch the eye. Almost hidden on the side of his piece’s head, executed in black-on-black, is the Japanese word meka (メカ), which roughly translates to “mecha”, emphasizing the heart — or soul — of his work.

Dolly Oblong’s Kuririn

The Netherlands based designer toy studio Dolly Oblong mined popular culture for their contribution, Kuririn, which magnificently reimagines the Skullhead Blank into the likeness of the Dragon Ball universe character. Best known to English speaking audiences as Krillin, this supporting protagonist appeared not only in the Dragon Ball manga but also the anime series Dragon Ball, Dragon Ball Z, Dragon Ball GT, and Dragon Ball Super. Quickly identifiable by the custom tailored garb, including a badge with the kanji 亀 (kame), or “turtle”, referencing the Turtle School that the character studied martial arts at, this piece is an exemploray example of subtle painted gradiation. While not immediately noticeable, the removal of the Skullhead Blank‘s nasal cavity is brilliant touch, the nose being a long-standing facial ommission on Krillin in his various appearances.

HX Studio’s R-B.01

HX Studio (Jesper Puchades Nordgren) is no stranger to either the Skullhead Blank and RE:BLANK shapes, having created his art upon both for commissioned pieces, and he employs a similar appearance to these previous works here. Titled R-B.01, the “R-B” denotes the base, the RE:BLANK, while the “01” is indicative strictly of the number decorating its head. Simulating battle damage across his piece, Nordgren excised small areas prior to adding a weathered coloration atop, depth and variance provided through flawlessly executed paint washes.

The 2nd Annual Blank Show group exhibition at Clutter Magazine Gallery had its opening reception on Saturday, July 8th from 6-9pm. All works in this exhibition will remain on display until August 4th, 2017 at the gallery’s physical location (163 Main Street, Beacon, NY 12508).

View the gallery’s dedicated page for the exhibition

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Huck Gee's 2nd Annual Blank Show exhibition at Clutter Magazine Gallery
The first decade of Huck Gee's artistic career within the designer toy movement was marked by frequent collaborations with Kidrobot, both on production pieces and using their forms as the basis for handmade works, but that changed when Gee introduced the Skullhead Blank in 2015. Evolved from a concept originated…
Huck Gee's 2nd Annual Blank Show exhibition at Clutter Magazine Gallery
The 2nd Annual Blank Show was an opportunity for artist Huck Gee to let his The Blank (2015) design shine, with him challenging a bevy of handpicked artists to augment and embellish either the Skullhead Blank or its relatively new evolution, the RE:BLANK. Already having examined how a variety of…
Huck Gee's 2nd Annual Blank Show, Part One
Huck Gee's 2nd Annual Blank Show, Part Three
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