(Japan, United States of America 1948 – )
42.4 x 64.3 cm image; 47.5 x 70.3 cm sheet
The seascapes, taken in as many places on the globe as Sugimoto has been able to travel to, register the unvarying aspect of the horizon always perfectly bisecting the image. However, within each frame the texture of night and day, and the imminent movement of the sea and clouds, is also apparent. Viewing these photographs there is no particular object on which to dwell - instead of looking at an image, we look across a space and into a void.
Sugimoto uses the camera reductively. The long exposures, ongoing series and regular format of all his photographs capture in a minute detail the similarities and differences from one frame to another. The artist has said that the series of seascapes are 'remembrances of the photographed past, the first memory when as a child I saw the sea. The more I take pictures the nearer I am to this first memory. The first memory of the first awareness of self.'
The Asian Collections, AGNSW, 2003, pg.295.
Jane Somerville, Look, 'The familiar made strange', Newtown, May 2007, 20.
Daniel Cole, Photofile 49, `Hiroshi Sugimoto/ Stephanie Valentin', pg 47, Paddington, Nov 1996, 47. There is no direct reference to this art work. This article expresses sentiments of time and light, which is not unlike the ideas behind the works AGNSW has purchased
Norman Bryson, Parkett, `Hiroshi Sugimoto's Metabolic Photography', pg 120-23, Zurich, May 1996. There is no direct reference to the art work in AGNSW collection.
Michel Guerrin, Atelier, `Hiroshi Sugimoto', pg 60-62, Shinjuku-ku, Mar 1996, 60-62. No direct reference to the works purchased by AGNSW.
John Yau, Artforum, `Hiroshi Sugimoto: no such thing as time.'by John Yau, pg 48-52, New Jersey, 1984, 48-52. No direct reference to the art works purchased by AGNSW.
Jackie Menzies (Editor), The Asian Collections Art Gallery of New South Wales, 'Photography', Sydney, 2003, 295 (colour illus.).
Hiroshi Sugimoto, Sonnabend, New York, New York, 22 Mar 1997–26 Apr 1997