From Tokyo Japan, since childhood Miyo Yoshida has experienced different cultures and social mechanisms, contrary opinions and paradoxical points of view. Through these experiences she has learned not to believe in the absolute values of events or materials, from a constant flux in which each one of us contributes to the mutability of each parameter. She reconstructs objects, symbols of personal status, identity and value by replacing the materials to confusing one’s sense of judgment. Yoshida shifts the parameters set by society; to induce doubt about what we believe to be ‘reality‘: all the things we take for granted through ‘conditioned perception’.
As a graduate of Tokyo Polytechnic College, Tokyo, Istituto Europeo Design, Milan, and The Royal College of Art in London, Yoshida has turned many heads in recent months as a finalist of the Catlin Art prize 2010.
Q. As a child, you have been quite around, you lived in Brazil, Tokyo,Milano.. Did this lifestyle affected your work in any ways?
A. Living in different countries allowed me to experience different cultures and social mechanisms, contrary opinions and paradoxical points of view. Through these experiences I’ve learned not to believe in the absolute values of events or materials, I support a constant flux in which each one of us contributes to the mutability of each parameter.
Q. How would you define your work? How does it represend the person you are?
A. I’m raising questions about the ‘norms’ that we have established in our society, things we consciously and unconsciously comply with.I produce work that is questioning its effects in order to remind myself that I am inescapably affected by the influence of society and the establishment.
Q. Can you tell us more about the work you present for the Catlin Art Prize?
A. ‘Body Cash’ is rooted in the idea of ‘value’ as socially determined ‘worth’. With the organ and tissue market man establishes monetary amounts for every single marketable item in existence, starting from his own body parts.The body as a ‘material’, like any other profitable goods, is revealing the value that contemporary society accredits to Life. The Body Trade like any other business, hides guilt and prejudice under a hyper real cape, it remodels ethics, it sets a serviceableness and induces acceptance of new gained values of lifestyle commodities (likewise luxury goods and services) In ‘Body Cash’ I breakdown myself to sellable body parts, consumer goods up for grabs on the existing market. Some of my parts are available in the organ trafficking and official markets. Some other parts are available in the cadaver business. Tissue banks sell most of our body parts as a product, from egg to tendon: this business is able to breakdown a body into 200 products.
Q. What inspires you when you are creating?
A. The feeling of Doubt induced by what surrounds me.
Q. Are you currently on a project?
A. I’m working on the series of BodyCash at the moment.The subject is fascinating and I believe there’s a lot of space to expand.
Q. Is there a particular piece of art you are dreaming to achieve?
A. First of all I really don’t know what I’d like to ‘achieve’ through my practice. I don’t see making pieces as achievement but just a part of my life process.I admire many artists and their work and the reason I am fascinated by them is because they offer a way to see things that is different to mine.
Q. What are your projects for the rest of 2010 and beyond and how do you think Pelime might help faciliate it?
A. I’ll keep on working on BodyCash and kickstart new thoughts.I believe Pelime could help broaden my horizon, reach a new group of people thriving in different businesses and activities that I may at present not have direct access to, and which in turn will further inform my work.