In Cassette, Sashie constructs a monumental sphere from the visual debris of late-20th-century consumer culture: rusted electronics, magnetic tapes, discarded signage, and obsolete brands that once defined the rhythm of daily life. The presence of names like ONKYO and TDK situates the viewer within a specific cultural memory — a moment when recording, rewinding, and replaying were intimate acts tied to physical objects.
This sphere becomes a planet of analog nostalgia, suspended between ruin and reverence. Its densely packed surface resembles an archaeological core sample from a civilization built on data, media, and entertainment. Yet what Sashie offers is not mere memory; it is the simulation of memory — the “simulacrum” of a world that feels familiar yet uncannily remote.The work speaks to the afterlife of technology, suggesting that even the most ephemeral of cultural objects leave their sediment in the collective psyche. Cassette is a floating reliquary for the analogue age, holding within it our longing for tactility, sound, and the emotional weight of obsolete media
Render image created for a better understanding of the size of the artwork
Masakatsu Sashie Japan, b. 1974
Cassette, 2025
Oil on canvas
100cm x 100cm
39.4 x 39.4 in
39.4 x 39.4 in
Copyright The Artist
Sold
Cassette, 2025 In Cassette, Sashie constructs a monumental sphere from the visual debris of late-20th-century consumer culture: rusted electronics, magnetic tapes, discarded signage, and obsolete brands that once defined the...
Cassette, 2025
In Cassette, Sashie constructs a monumental sphere from the visual debris of late-20th-century consumer culture: rusted electronics, magnetic tapes, discarded signage, and obsolete brands that once defined the rhythm of daily life. The presence of names like ONKYO and TDK situates the viewer within a specific cultural memory — a moment when recording, rewinding, and replaying were intimate acts tied to physical objects.
This sphere becomes a planet of analog nostalgia, suspended between ruin and reverence. Its densely packed surface resembles an archaeological core sample from a civilization built on data, media, and entertainment. Yet what Sashie offers is not mere memory; it is the simulation of memory — the “simulacrum” of a world that feels familiar yet uncannily remote.
The work speaks to the afterlife of technology, suggesting that even the most ephemeral of cultural objects leave their sediment in the collective psyche. Cassette is a floating reliquary for the analogue age, holding within it our longing for tactility, sound, and the emotional weight of obsolete media
In Cassette, Sashie constructs a monumental sphere from the visual debris of late-20th-century consumer culture: rusted electronics, magnetic tapes, discarded signage, and obsolete brands that once defined the rhythm of daily life. The presence of names like ONKYO and TDK situates the viewer within a specific cultural memory — a moment when recording, rewinding, and replaying were intimate acts tied to physical objects.
This sphere becomes a planet of analog nostalgia, suspended between ruin and reverence. Its densely packed surface resembles an archaeological core sample from a civilization built on data, media, and entertainment. Yet what Sashie offers is not mere memory; it is the simulation of memory — the “simulacrum” of a world that feels familiar yet uncannily remote.
The work speaks to the afterlife of technology, suggesting that even the most ephemeral of cultural objects leave their sediment in the collective psyche. Cassette is a floating reliquary for the analogue age, holding within it our longing for tactility, sound, and the emotional weight of obsolete media
