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Hiroshi Sato
To young Japanese artist Hiroshi Sato, it’s all about tracing characters’ conscious and subconscious. With the harmonious colours as well as the interplay between elegance and dreaminess, the… Read more
Intro Bio Exhibitions
Scene D
Fan Fiction
CA$ 1,969
Scene D
Fan Fiction
CA$ 1,969
Scene C
Fan Fiction
CA$ 2,139
Scene C
Fan Fiction
CA$ 2,139
Background Information about Hiroshi Sato
Introduction
To young Japanese artist Hiroshi Sato, it’s all about tracing characters’ conscious and subconscious. With the harmonious colours as well as the interplay between elegance and dreaminess, the series Fan Fiction is reminiscent of American painter Edward Hopper. The rooms and figures breathe with the spirit of contemporary and complex perception. Sato’s painterly hand is unmistakable. Although the subjects are turned away from the viewer, the works lead the viewer into a film far beyond the picture’s surface. They feel like a mirror to our consciousness. With their nearly white contours, the geometric shapes and graphical shadows that surround the female figures in Hiroshi Sato’s pictures are reminiscent of the beams of light and colourful shapes in a kaleidoscope.
Sato consciously mixes graphical and symbolic techniques in his works, just like the American artist Chuck Close before him, whom he references in addition to Jan Vermeer, Andrew Wyeth, and Euan Uglow. Sato’s pieces appear incredibly harmonic, even during the dynamic instants they appear to capture, freezing time and movement. They are poetic fractions of a second of a painterly search conducted through colour and illustrative techniques.
By creating miniature models of the rooms on a 1:12 scale, Sato anchors his pictorial narratives in the physical world. Using this real “set”, he develops the process and composition for his works. The artist frequently references popular films because their storylines are widespread narratives akin to the classic myths of previous epochs. In his piece “Scene C” there is a clear reference to the horror genre in the form of a film poster from The Silence of the Lambs, which adds yet another layer of meaning to the piece.
Sato consciously mixes graphical and symbolic techniques in his works, just like the American artist Chuck Close before him, whom he references in addition to Jan Vermeer, Andrew Wyeth, and Euan Uglow. Sato’s pieces appear incredibly harmonic, even during the dynamic instants they appear to capture, freezing time and movement. They are poetic fractions of a second of a painterly search conducted through colour and illustrative techniques.
By creating miniature models of the rooms on a 1:12 scale, Sato anchors his pictorial narratives in the physical world. Using this real “set”, he develops the process and composition for his works. The artist frequently references popular films because their storylines are widespread narratives akin to the classic myths of previous epochs. In his piece “Scene C” there is a clear reference to the horror genre in the form of a film poster from The Silence of the Lambs, which adds yet another layer of meaning to the piece.
Bio
Originally from Japan, Hiroshi Sato studied Fine Art at the Academy of Art University in San Francisco. His work has featured in numerous solo and group exhibitions throughout the United States.
Exhibitions
1987 | Born in Japan |
Spent his childhood in Tanzania, age 3 till 14 | |
2005 - 2006 | Atlanta College of Art, USA |
2008 - 2012 | BFA Fine-Arts, Academy of Art University, San Francisco, USA |
Solo Exhibitions
2012 | New Works, Hespe Gallery, San Francisco, USA |
Group Exhibitions
2012 | Spring Show Exhibition, Academy of Art University, San Francisco, USA |
Outliers, Hespe Gallery, San Francisco, USA | |
2011 | Outliers, San Francisco Design Center, USA |
Small Works, Hespe Gallery, San Francisco, USA | |
Benefit Silent Auction, STUDIO Gallery, San Francisco, USA | |
Spring Show Exhibition, Academy of Art University, San Francisco, USA |
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