The Publics


The Treachery of Kashiwa Sato
February 11, 2008, 12:10 am
Filed under: consumerism, design | Tags: , ,

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Quite possibly the most prolific designer in modern Japanese history, Kashiwa Sato is a one-man monolith of visual communications who has created ground-breaking work in all areas of the discipline. An accomplished name in environmental design, graphic and product design, art direction and video, Sato is one of those rare individuals whose work is instantly identifiable by style alone.

What distinguishes Sato from the average designer is that he is able to exact artistic control over all aspects of a product’s environmental presence, allowing for a unified visual narrative that is completely engaged with the reality of the product. While Sato’s ability to create a seamless flow between product design, advertising campaigns and cultural appeal is nothing short of genius, what I find truly interesting about his work is that it often seems like parody. Many of his campaigns have a self-reflexive quality that draws attention to a product while simultaneously questioning its very existence.

I think this is why his outdoor advertisements, even though they often conform to a high-contrast pop-minimalism, are somehow able to effortlessly blend in with urban environments, almost as if to say “ce n’est pas un produit de consommation”

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kashiwa sato


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[...] y el rebusque de una propia-referencia en sus diseños se nota como un unico concepto de bases a la Kashiwa Sato y/o Chuck [...]

Pingback by [ JoC ] life is bigger | Sabor Argentino

[...] His pop-psychedelic style and knack for self-referential ad design reads like a unique blend of Kashiwa Sato and Chuck [...]

Pingback by Sabor Argentino at Always Hustle

[...] His pop-psychedelic style and knack for self-referential ad design reads like a unique blend of Kashiwa Sato and Chuck [...]

Pingback by VectorVault™ Anchorpoint - Free Vector Art Community

[...] Source: The publics [...]

Pingback by Kashiwa Sato Webpage portfolio « Meaning is a state of mind




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