NAOKI SUTTER-SHUDO

Naoki Sutter-Shudo’s sculpture is direct and sensitive. That is to say, it has, at first glance, a form of formal evidence, a silent eurhythmics, which contrasts with the multiplicity of small narratives, whispered intimate references, coincidences or déjà-vus that seem to have composed it. They rest on a quasi-impossible equilibrium, whether it is a question of physical properties, iconography, or meaning. They oscillate between the fatality of gravity and a brazen verticality, between a nonchalant suppleness and a lacquered vigor, between a natural environment and a meticulously constructed architecture, between a profane and a sacred aspect, and it seems that one could enumerate these antitheses endlessly. Antitheses that can rather be seen as correspondences, as intrepid attempts of reconciliation. The notions co-exist, thus creating a language of their own, which is as far away as possible from a Manichean statement.

Recent solo exhibitions include Gaga & Reena Spaulings, Los Angeles (US), Derosia, New York (US), Crèvecœur, Paris (FR), XYZ, Tokyo (JP). Recent group exhibitions include Fondation Vincent Van Gogh Arles (FR), Musée d’Art Moderne de la Ville de Paris (FR), FRAC Île-de-France, Paris (FR) and MAMCO Geneva (CH). Public collections include Musée d’Art Moderne de la Ville de Paris (FR) and Musée d’art moderne et contemporain - MAMCO, Geneva (CH).