The DS3 is depicted as a vase, expressing the vitality of plants and flowers.

The news of the Gold Award in the Design category at the Cannes International Film Festival came as a great surprise. A Japanese designer had received high acclaim overseas. The person in question is Shun Kawakami, an art director who leads artless. While handling client work such as advertising, he also engages in artistic activities that set him apart from commercial work. At the recent "Anti-Retro Night" event hosted by Citroën Japon, he spoke about the appeal of Citroën, saying, "Citroën's designs always have a strong individuality." He himself is an owner of a "Citroën C4." It was this Mr. Kawakami who took on the challenge of creating graphic art in collaboration with the Citroën DS3. The resulting work depicts the DS3 as a vase, expressing the vitality of plants and flowers.

──Citroën DS3 and pine trees. Where did this unique combination come from?

When I first saw the DS3, I was struck by its flowing yet powerful form. The combination of strength and a softness that isn't rigid might seem contradictory at first glance, but I believe this car expresses it beautifully.

Monotone that evokes a sense of "color" and enhances the DS3

──How is this ink-wash painting-like style actually created?

I had calligrapher Gen Miyamura actually write characters, and then I layered them using a computer like a collage. It's abstract, like practice strokes, connecting dots and lines. The dots, like ink blots, and the faded lines, while appearing natural, are meticulously calculated in their layout. I also inverted them to create white lines. For the pine trees, I combined several photos I took myself, converting them to an ink color. I actually used to do flower arrangement, and this collage work feels somewhat similar to that.

──Your graphic art is primarily in monotone. Why do you stick to black and white?

Monotone allows one to feel a sense of "color" in a conceptual way, depending on the person or the setting. For example, these pine trees might feel deep green in the summer, or one might imagine reddish-yellowish pines in the autumn. Black and white photography has the enjoyment of allowing the viewer to imagine colors. I also emphasize the beauty of negative space, which is unique to Japan. While the DS3 offers a rich variety of color options, I find myself always choosing white. I believe that a white DS3 can take on various expressions depending on the driver. Also, when incorporated into graphic art like this, I think white best highlights the beauty of the silhouette through shading.

I also like the sharp shape of the headlights; they have an impact. I currently drive a "Citroën C4," and I chose it precisely for the sharpness of its headlights and the beauty of its French lines. I think that's a unique appeal of Citroën. However, my C4 is actually khaki. I really wanted that color, so I ordered it knowing I might have to wait six months. The body color of a car is an important element where one can express their personal preferences. The DS3, with its beautiful range of nuanced colors, is truly a car I desire right now.

Traditional Motifs Reborn as "Modern" Through Contemporary Techniques

──The DS3's theme is "Anti-Retro." What does "Anti-Retro" mean to you?

My graphic art is based on the concept of "tradition with modernity." Traditional yet modern. It's the idea that new things emerge from tradition. As I've had more opportunities to work internationally, I've become strongly aware of my Japanese identity and have come to appreciate Japanese tradition anew. My gaze, which had been directed outward, truly turned inward for the first time when I actually went abroad. However, I don't want to create old things. As a graphic designer, I view art as design. Japan has many beautiful things, but I feel that due to an emphasis on traditional methods of expression, this Japanese aesthetic is often perceived as old-fashioned. The motifs I actively use in my work are often traditional, like the pine trees in this piece, but the method of expression is digital. Creating unprecedented art through this combination is what "Anti-Retro" means to me. If I had simply painted the pine trees with a brush, it might have been wonderful in its own right, but it would have ended with a simple "That's traditional." By incorporating contemporary techniques like computer graphics, it is reborn as modern.

Shun KAWAKAMI
Art director, graphic designer. Born in Tokyo in 1977. Representative of artless. He takes a broad view of design, encompassing design, art, branding, interactive media, video, installations, and spatial direction, and works across various media genres without constraint. He also actively pursues artistic endeavors, organizing and participating in exhibitions and projects both domestically and internationally, and curating events. His major awards include the Gold Award in the Design category at the Cannes Lions International Festival of Creativity, NY ADC Young Gun 6, NY ADC Award, One Show, London International Awards, Good Design Award, and Tokyo Interactive Award.
www.artless.co.jp/
www.shunkawakami.jp/

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