In her latest body of work, Shiori Eda explores the complexities of “absolute assertions”. She suggests that true understanding is elusive because many additional and fluid phenomena must be considered. According to the artist, these phenomena overlap and lack clear boundaries, resembling clouds or fog. This fluidity challenges the notion of definitive statements, which often fail to grasp the true essence of things.
Shiori draws a parallel between this concept and artistic creation. She argues that making definitive statements about art can limit its potential. Just as scientific thought benefits from cultural perspectives, and vice versa, understanding art requires recognizing their interdependence. Identifying cause and effect in art is complex, and rigid statements can stray from the true essence.
The Japanese artist is also interested in the concept of “destruction”, a term explored in both philosophy and art. Nietzsche’s theory of creative destruction asserts that deconstructing traditional values is necessary to bring forth new values. Similarly, Hegel’s dialectic shows that the confrontation between contradictions leads to transformation or higher development. In the artistic realm, Marcel Duchamp’s “Readymade” destroys established concepts by moving everyday objects from their utilitarian context to an artistic dimension. Shiori thus also examines the idea that destruction might be more impactful than meticulous adjustments, leading to significant developments and deeper changes.
Following this line of thought, in this new exhibition, Shiori Eda envisions hypothetical beginnings and endings within the context of Japan, her home country. This exploration represents a traditional method of decomposition and analysis of the world. Her time spent away from Japan—having lived in France for eight years—has allowed her to gain new perspectives.
