A Brief History of Quiccs’ Bulletpunk Aesthetic
Initially conceived as a branding identity around 2011, Bulletpunk would begin evolving into its modern usage the following year when Quiccs dedicated himself to art toy creation. Already acquainted with this mode of sculptural expression through the works of Michael Lau, Quiccs challenged himself by entering and ultimately placing in the CE Contest II. Immediately inspired to pursue this path, the artist began assembling and modifying forms that resembled the Japanese robots he watched on TV in his youth, such as Mobile Suit Gundam and Armored Fleet Dairugger XV. But Bulletpunk didn’t fully coalesce until he created the central character for this “universe”, TEQ63. And while the name Bulletpunk was originally derived by merging two terms together, those of shoot ’em up “bullet hell” video games and science fiction’s lowlife-meets-high-tech “cyberpunk” subgenre, it would become synonymous with Quiccs’ style, as exemplified through the TEQ63 form.
Quiccs’ Reinforcements Have Arrived Exhibition
And while TEQ is an abbreviation of The Endgame Quest, or the final journey to be accomplished in certain video games, the Reinforcements Have Arrived exhibition reveals how Quiccs’ Bulletpunk exploration still evolves and strides forth. Not only in regards to the limitless options of altering others’ sculptures, such as Quiccs’ transformation of Huck Gee‘s massive robot form into the unique SKLFKR TEQ, but also in the personal narrative that the artist can imbue into these works. From the metallic purple and fluorescent green tones reminiscent of Neon Genesis Evangelion to the Star Wars-inspired BobaTEQ designs, from the Shining Gundam‘s gold “Super Mode” coloration to Bruce Lee‘s yellow tracksuit from Game of Death, Quiccs’ choices in decorating his various pieces within Reinforcements Have Arrived continue to explore the media that inspired him, his personal journey being that of looking backward as he continues forward.
View the gallery’s dedicated page for the exhibition
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