Born 1979 in Tokyo, Japan.
Lives and works in Berlin, Germany.
1. In the grid – floor windows , 2014
2. On the frame, In the framе, 2014
Oak, Colored cotton ribbon, Glass
3. Between the ceiling and the floor, 2014
Cherry, Oak, Colored nylon rope
4. Mirroring notes, 2016
Oak, T ransferpaper, Metal
5. A cabinet unable to hold any secrets, 2016
Oak, Glass, Textile, Wheel
Courtesy Asako Shiroki Studio, Berlin
Asako Shiroki’s work revolves around various actions and processes that are derived from the natural materials and forms out of which it is made. Its sculptural structure evokes the viewer’s recollection because it seems to resemble fragments of furniture (wooden grids or frames), but then a process of deconstruction takes place as the impression of these objects is oriented towards a sense of disappearance and oblivion – a territory that no place for memory. This discloses a world of objects bereft of conventional meanings and associations. Working autonomously between a territory of self-defined-by-things and one of things-defined-by-self, she attempts to unfold and interpret two parallel worlds, oscillating between perpetually repeated cycles of recollection and oblivion.
Her work begins when she first takes a piece of wood and starts sawing it. Then all idea of function is lost as she builds a form around her action and idea. She follows traditional Japanese methods of carpentry using traditional tools and no metal fixings. In doing this she reveals the process, the motion and the act of making a work, rather than any particular technique, and her interest lies in the reflection of positives and negatives, of ways of getting things to hold, stand and balance in space. This has a philosophical as well as practical and aesthetic dimension: the idea of emptiness – in Japanese ma – that animates her work, in contrast with the existential negativity of the western idea of void, provides an infinite and seductive core around which all matter revolves and to which it must ultimately revert.