JORGE SATO

 
 

 Iceland

Based in São Paulo, Brazil, Jorge Sato graduated from ESPM (Escola Superior de Propaganda & Marketing) and started working in the creative area at local advertising agencies. After a year, he got to know a Brazilian Fine Art photographer and after working together for about 3 years, Sato decided to focus on his personal projects in order to express himself in a unique way.

DESPITE BEING A YOUNG PHOTOGRAPHER, JORGE HAS BEEN PART OF MANY COLLECTIVE EXHIBITIONS IN BRAZIL AND ABROAD AND HE IS CURRENTLY EXHIBITING AN ESSAY BASED ON THE WORK OF THE FAMOUS BRAZILIAN ARCHITECT OSCAR NIEMEYER AT TRIPOLLI ART GALLERY CURATED BY LUIZ TRIPOLLI.

A STRONG-WILLED PHOTOGRAPHER STRUGGLING TO REACH MYSTERIOUS AND UNDISCOVERED PLACES THROUGH ANALOGUE UNIVERSE, NOT USING THE PERFECT TECHNIQUE AS A CRAFTSMAN. RATHER, USING THE SENSIBILITY OF AN APPRENTICE. THE PURPOSE OF MY PHOTOS IS NOT JUST TO SHOW REALITY AS A PERFECT REGISTER OF A MOMENT OR A PLACE. IT IS MUCH MORE ABOUT UNIQUE MOMENTS AND DEEP FEELINGS. I’M CONVINCED THESE DREAMLIKE INSTANTS CAN’T BE ARRANGED BEFOREHAND. BEAUTIFUL AND MEMORABLE EVENTS HAPPEN EVERYWHERE AND ALL THE TIME. THE THING IS TO LEARN HOW TO SEE AND INTERPRET THEM. MY WORK IS BASED ON TWO VISUAL APPROACHES: UNREAL AND ONEIRIC IMAGES USING LO-FI FILM CAMERAS WHICH ARE WELL-KNOWN BY THEIR UNPREDICTABILITY AND PARTICULAR EFFECTS AND THE ROMANTIC AESTHETIC (INSPIRED BY THE ARTISTIC MOVEMENT IN THE EARLY DECADES OF THE NINETEENTH CENTURY) USING TLR FILM CAMERAS.

SÃO PAULO NEO NOIR

I WAS TRYING NOT TO DOCUMENT THE CITY USING THE TRADITIONAL PHOTOGRAPHIC AESTHETICS. RATHER, THE IDEA WAS TO REPRESENT A MYSTERIOUS AND FUTURISTIC UNIVERSE, CREATING AN ONEIRIC NARRATIVE BASED ON THE CONCEPTS OF NEO NOIR GENRE.

THE INSPIRATION WAS THE SCI-FI/NEO-NOIR MOVIES: BLADE RUNNER AND ALIEN (RIDLEY SCOTT) AND 2001: A SPACE ODYSSEY (STANLEY KUBRICK) WERE MY "NORTH". I REALLY ADMIRE THEIR SOMBER, DEEP AND MYSTERIOUS ATMOSPHERE. THE CYBERPUNK CONCEPT "HIGH TECH AND LOW LIFE" IS QUITE INTERESTING AS WELL. MY CREATIVE PROCESS IS BASED ON IMAGINING THE COMPOSITION BEFORE SHOOTING IT AND LEAVING ROOM FOR THE RANDOMNESS. I DO NOT HAVE TOTAL CONTROL OF MY IMAGES AS I USE LO-FI ANALOGUE CAMERA AND AN ACCESSORY CALLED "SPLITZER" WHICH ALLOWS EXPOSING ONLY PART OF THE FRAME, CREATING MULTIPLE EXPOSURES WITH MORE CONTROLLED MERGERS (BUT NOT TOTAL CONTROL). I BELIEVE THERE IS A GOOD CONFLICT BETWEEN RANDOMNESS AND CONTROL IN MY WORK WHICH RESULTS IN SOMETHING DIFFERENT.

I THINK THE PRIMARY CREATIVE CHALLENGE WAS TO KEEP FOCUSED ON THE CONCEPT BECAUSE WHEN YOU ARE WORKING ON A SURREAL AND NON-USUAL ESSAY, IT IS EASY TO GO TOO FURTHER AND GET LOST ON IDEAS BUT IF YOU AREN'T DARING AND TAKE SOME RISKS, THE PROJECT WILL NOT SUCCEED.


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