Kiyoshi Awazu. Japanese Graphic Designer
These have included urban design, exhibition design and film production, and have been in collaboration with artists from fields spanning from architecture to music to literature to cinema. In , a grand retrospective of his works was held in Poland at four national art museums. In more recent years, he has focused on visual communication, the very genesis of all design artistry through studies in areas such as pictographs and rock art, and he has launched works employing diverse production methods.
Tatsumi Hijikata.
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KIYOSHI AWAZU: REVOLUTIONIZING JAPANESE GRAPHIC DESIGN - sabukaru: Kiyoshi Awazu (Japanese: 粟津 潔, romanized: Awazu Kiyoshi, February 19, – April 28, ) was a Japanese graphic designer, active in the post-WWII era in the fields of poster design, architecture design, set design, filmmaking, and illustration. A self-taught artist, Awazu possessed an eclectic and variegated graphic style that.
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Awazu played with this association and abstract it. The thin background lines as a representation of nature. The red hand as humans and their footprint on the environment. Another example of finding new ways to represent Japanese motifs, is the 'New Spirit in Japan' poster, a collaboration between Kiyoshi Awazu and the kimono company Juraku.
The piece was composed of two main elements: On the left, a variant of the already seen topographic pattern.
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This version uses curved lines, vivid gradients, and a multicoloured pallet to create a bolder result. On the right side, we see a sequence of illustrations. These correspond to Hanafuda drawings — an old Japanese card game. Awazu reversion of Hanafuda motifs uses an obscure pallet to refresh the visuals in this game.
The result is atmospheric and hallucinogenic. Old and new are in constant conversation in Kiyoshi Awazu's bodywork. He had a precise eye to see traditional aesthetics through contemporary lenses. Colour and iconography became primordial tools to achieve his vision. Some of his more surrealist works use destroyed Japanese symbols.
A deconstructed version of the national imaginary — sometimes too deconstructed to be recognized by non-Japanese people. This tool enhanced the psychedelic visual style he is known. As a consequence, Awazu left us with a vast catalogue of pieces that offers an involving experience. Although Awazu had a candid passion for painting and graphic design, he experimented with diverse disciplines and formats.
In his words: 'In all expressive fields, I resolve to remove not only the boundaries among forms of expression; I will also remove class, category, disparity, and the upward and downward that have appeared in art. In , the designer collaborated with the architect Minoru Takeyama for the Ninbankan building. Awazu designed the exterior look of the building.
His proposal consisted of a colorful pattern as a facade. For many, his intervention was remarkable. The painting was cheap; it only had to be restored every five years. Nowadays, the building is in a decrepit state. The original pattern replaced by another intervention. Although this is anyhow irrelevant, the movie is definitively worthwhile checking.
In , the Awazu Design Studio donated 2, artworks and archival materials to the 21st Century Museum of Contemporary Art, Kanazawa and shortly after the museum organized Graphism in the Wilderness , a major exhibition featuring 1, of the donated works. In , Awazu's studio in Kawasaki , designed in by architect Hiroshi Hara , was renovated and opened to the public as an exhibition space aimed at highlighting the work of up-and-coming artists.
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Wikidata item. Japanese graphic designer — Meguro , Tokyo , Empire of Japan. Kawasaki , Kanagawa , Japan. Biography [ edit ]. Early life [ edit ]. Umi o kaese and Career beginnings [ edit ]. Poster design [ edit ]. Filmmaking [ edit ]. Illustration and book design [ edit ]. Involvement in architecture [ edit ].
Other professional activities [ edit ].