Interview with Kentaro Sato, LICC Winner in CREATE (Art) in the Non-Professional category, where he explores the idea that a parallel world could exist, believing that the more precise and accessible it is, the more deeply viewers can immerse themselves, connecting with their own senses, stories, and experiences, rather than being scared by distorted representations.

 

 

Congratulations on winning the LICC with your “Industrial Emotion – Altar 1/700” project! Can you share the inspiration behind this piece and what motivated you to explore the theme of industrial emotion?

I am thrilled to win the award with my very first three dimensional artwork, thank you so much. It is indeed an honor for the art to be recognized.

Industrial machines, their shapes and structures have always been inspirations for my creativity since I was little and became into vehicles and model making, and the defining moment had come when massive construction at the engine compartment of a museum ship both scared and fascinated me being lost there.

I’ve also experienced feeling a sense of eeriness as if subtle shifts in perspective could take my mind into another world through industrial scenery—twisting pipes and boilers of chemical plants that looked like parts of the human body—the fact that breathtakingly beautiful flare stack flame originates from noxious gas, for example. Those images are so hauntingly attractive that I’ve had an urge to recall and recreate the world and share it with people.

To deepen and expand the vision, my personal complex feelings through the ordinary world, such as inferiority, trauma, and resentment, not only act as the driving force but also invite the development of its story. And interestingly, I am often astonished by the outcomes while assembling each part I design in the process, which motivates me a lot to explore ideas more.

Your project blends industrial aesthetics with emotional resonance. How did you navigate the balance between these two seemingly contrasting elements, and what techniques did you use to convey both aspects effectively?

What I immediately do after striking on the sight of surreal beauty through industrial scenery is collect and research all sorts of associated data ranging from material, structure, functionality, and history, as well as being a realist painter physically observing objects.

The project places a value on the concept that the parallel world could actually exist because I believe the more precise and accessible the world is, the more deeply the viewers could immerse themselves and feel their respective senses, stories, past experiences, etc. in it, apart from partially distorted representations that possibly scare people.

In other words, a sign of human activity or flow of time, including entrance, passage, stairs, decayed rust color of the building, vehicles, and lights at night, creates conditions conducive to actively jump into the world, imagine what is happening there, and soak in the ambience, which contradicts an impact of exaggerated appearance beyond reality. And even the grotesque parts symbolizing my encounter with eerie industrial scenery are designed to blend into surroundings so as not to assert themselves.

The reason why I adopt miniature style is that I would like to compress and concentrate all elements into the world on such a scale that enables myself or viewers to recognize its holistic view from all angles. 1/700, popularly known for modellers, is the smallest scale on which I could create precise and clearly visible parts with my technical expertise in scale modelling and CAD (computer-aided design) 3D printers. The piece is extremely compact but insanely fine compared to the real-life scale. I hope that the contrast could bring a mind-blowing experience to viewers, affecting their perception of space.

Can you briefly tell us about your background and what inspired you to pursue design? What motivates and drives your work?

I used to work as an inspector of non-destructive inspection, an engineer to make frames of motorcycles, and currently design scale models or chassis of electronic devices.

 

I had inactively acquired skills in 3D design for work until I joined a drawing class of art school at the age of 35. One day my teacher gave a comment on my drawings of imaginary industrial structures that they were works of art. It made me aware of my own unique identity and focus on design.

It is always challenging to understand clients’ needs and reflect them in products, which helps me stay objective in my own creative activity as well. Any kind of on-site visit provides further insights into the objects. And motivation to design and create standout pieces pushes the boundary of my idea and skill.

I spend much time collecting and researching countless materials that transport me to an alternate world for inspiration. They could be objects themselves, phenomena, histories, creations, or anything.

Winning the LICC “Best in Create” prize is a testament to your creative vision. What does this award mean to you personally and professionally?

The winning experience is a crucial turning point for me as an artist. Thank you so much, again. I also appreciate the reality that my work could somehow touch viewers’ hearts. It leads to my confidence and helps me make further efforts to explore means of expression.

The result reminds me that the locomotive model that I designed and produced became a record-breaking hit when I was an in-house scale model designer. In the development phase for the hit product as well as “Industrial Emotion – Altar”, I aimed at a niche breakthrough, defying existing genres, common sense, and rules in the fields. 

I would like the process of creating new works to be even more exciting than the ones before.

Your work has been praised for its creativity, technique, and impact. What advice would you give to aspiring artists who look up to your success? How can they find their unique voice and make a meaningful impact in the design and artistic world?

Creative experience through art for me is pure excitement. I consider how my artwork could astonish people. As it is my very first work, I don’t think I am in the position to give any sensible advice, but instead, I would like to exchange opinions about  unique voices and meaningful impact with people from various backgrounds.

Looking ahead, are there any upcoming projects or new professional challenges you’re particularly excited about, and how do you envision your work evolving in the future?

My design company currently launches a series of fictional structure models called “Field Impossible”. Despite the characteristics, including scale, precision, and atmosphere, common to “Industrial Emotion”, they are differently created as a product that can be used for hobbies or education.

Without professional experience, any creative process will become a challenge for me. I am now setting a goal of creating 20 artworks in a series of “Industrial Emotion” to deepen and strengthen its worldview and subject matter. And I wish I could be active across disciplines in the future.

View the winning project of Kentaro Sato here.