Selected works by Terence Koh

Terence Koh
These Decades that We Never Sleep, Black Drums


Drum kit, paint, ropes from a ship found after midnight, black wax, plaster, vegetable matter, crushed insect parts, artist`s blood and cum

Stool, 50 x 30cm
100 x 163 x 100cm

Terrence Koh’s sculptures are born of queer youth culture and luxurious decadence. Exuding a magnetic sensuality, These Decades that We Never Sleep, Black Drums is an object of obsession, its ebony coils trailing with enticement, visually echoing waves of noise. Luring with its swarthy depths, …Black Drums creates a suggestive void: of memory and fantasy, drawing connotations of art history, gothic subculture, and fetish gear. Using raw materials of cloth, metal, and plaster, Koh’s sculpture beacons with tactility, mirroring yearning and loss as physical desire.

Terence Koh
These Decades that We Never Sleep, Black Light


Crystal chandelier, paint, lollipops, vegetable matter, human and horse hair, mineral oil, rope from a ship found after midnight, glass shards, stones and artist`s blood and shit

190 x 72 cm

Taking the form of a boudoir chandelier, Terrence Koh’s These Decades that We Never Sleep, Black Light hangs with a tempting anticipation; its heavy weight dangles, both dangerous and beguiling, dripping opulent crystals and bijou. Rather than illuminating, the sculpture’s deadened black surface promises to devour. Flirting between pleasure and pain, lust and death, Koh offers a dark romanticism, filled with apprehension and possibility.

Terence Koh
Big White Cock


Sculpture, white neon, wires

132.1 x 121.9 cm

Crowing with early-hour neon glory, Terrence Koh’s Big White Cock is everything its title suggests! Illuminating with greasy innuendos of back-alley sex shops and mega-bucket chicken shacks, Koh’s electric sign pulsates as a high-design icon glamorising the art of slumming it. Addressing issues of race, gender, and sexuality, Koh turns the coded language of sub-culture into a fetishised logo of duplicity. In sexual terms a ‘chicken’ may be a gay teen or Chinese prostitute, but sometimes a cock is just a rooster!

Terence Koh
Untitled (Medusa)


Mixed media sculpture, wood, paint, plaster, urinal, steel, porcelain, mirror, glue, bonding paste, ashes, oil, burnt wood, light, wiring and artists piss

235 x 107 x 107 cm

Standing as a white cube within the white cube of the gallery, Terence Koh’s Medusa has the outward appearance of polished respectability. Through the door of his structure, however, it is revealed as a WC of iniquity, a literal closeting of desire. Decked out in dirty black, with rows of phallus-laden religious icons, and satanic plumbing fixtures, Koh’s toilet stall is both urinal and confessional, a smutty cupboard where seduction and transcendence are gleefully indulged.

Terence Koh


Mixed media - 222 heads of plaster, paint, wax, fire, charcoal, inside 22 glass vitrines, UV glue, paint, fingerprints, some vitrines with breaks and/or cracks

Dimensions vary with installation: sizes per vitrine vary from 60 x 35x 35 cm (largest), 50 x 30 x 32 cm (medium), 33 x 23 x 23 cm (smallest)
Terence Koh
Untitled (Vitrines 5 - Secret Secrets)


Mixed media sculpture

Dimensions vary with installation
Terence Koh
The Camel was God, the Camel was Shot


Cast of artist's body, bronze and white patina

22 x 179 x 55 cm


By Brian Sholis

New York artist Terence Koh creates handmade books and zines, prints, photographs, sculptures, performances, and installations. He first gained notoriety for his website and zine titled asianpunkboy, which, in his own words, are “filled with an infusion of gentle surfaces, dissident eruptions, haikus, mapped pictures, dirty illustrations, moist cum, decadent artificial words, love and all manner of faggy filth.”
Koh's description indicates both the diversity of his art and the queer, punk, and pornographic sensibilities that inform his creations. He reappropriates images from the Internet, magazines, and other artists in the service of a personal exploration that is by turn innocently sweet and rugged.

The Whole Family (2003), Koh's first solo exhibition at peres projects in Los Angeles, divided the gallery's main space and basement into two separate environments. The ground floor completely empty, featured a 3-inch-wide peephole drilled into the floor with a small ladder dangling below.


By Ana Finel Honigman

Ana Finel Honigman: Are you engaging the same conceptual meat with your websites’ Dionysian porn and pop-culture focus and your installations' calming aesthetic or are these wholly separate facets of your artistic personality?
Terence Koh: You see, or cannot, that I am a two headed beast. I am both hairless albino wolf and rabbit with a pink uni-horn. A two-headed beast is harder to kill and has twice the teeth.
AFH: Do rabbits even have teeth?
TK: Oh yes! Bunnies have the sharpest teeth. They need it to bite evil art critics!
AFH: Cute. I guess that makes sense since you’ve been living in rough places like New York and London but now you are in LA and your current work, with its Zen and cum juxtapositions, has a particularly West Coast sensibility.
TK: “Zen and cum esthetic” makes it sound like I do work that would entice rich Beverly hill's women who do yoga, practice s/m, decorate their backyards with pretty Japanese stones or phallic water fountains and who also collect art. Actually that pretty much describes my ideal collector. I think my work is particularly well suited to be installed within the backyards of LA.