Hiroshi Sugimoto | the artist




The artist Hiroshi Sugimoto
Born 1948, Tokyo, Japan.
Lives and works in New York, USA.

Style and technique of the artist: Photography, Hasselblad Award, Singapore Biennale, Praemium Imperiale Award, Sydney Biennale,

Hasselblad Award winner 2001.


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Original artworks, prints, exhibition posters, monographs, books, collectibles.

His interest in art began early. His reading of André Breton’s writings led to his discovery of Surrealism and Dada and a lifelong connection to the work and philosophy of Marcel Duchamp. Central to Sugimoto’s work is the idea that photography is a time machine, a method of preserving and picturing memory and time…
Hiroshi Sugimoto s photographs freeze more time, more space than can be taken in with one look. A cinema screen is illuminated by the light projected during a feature presentation; an out-of-focus ‘stage curtain’ reveals itself to be a vast seascape. In these images, we catch a glimpse of the workings of our own vision.
The Photogenic Drawings series was inspired by the innovative techniques of 19th century photographer Henry Fox Talbot, whose pioneering ‘photogenic drawings’ used light-sensitive paper to produce a paper negative. Working from Fox Talbot’s original negatives, Sugimoto’s vastly scaled-up images are startling in their detail, with a haunting, almost painterly power.
Artist’s website
There is a photograph so mysterious at the Scottish National Gallery of Modern Art that I still do not know quite what I saw. Even the format is strange. Large as life and brown as a Rembrandt, the picture hangs in a weighty frame as if it were itself an old master: a portrait of a woman in crinoline and ringlets reminiscent of Florence Nightingale…
In recent years, Sugimoto’s work has become increasingly concrete at the same time as it has become notably more abstract. It has broken out of, or beyond, photographic illusion to touch the moment of an ideal space rendered in photography. In his Architecture series (1997-2002), rather than photographing key modernist buildings to elucidate their lines and volumes, Sugimoto blurred the image in an effort to capture not the buildings themselves but mental images of them…


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