HIROSHI SUGIMOTO
杉本博司


“People have been reading photography as a true document, at the same time they are now getting suspicious. I am basically an honest person, so I let the camera capture whatever it captures…whether you believe it or not is up to you; it’s not my responsibility, blame my camera, not me.”

“人們往往認為攝影作品是一種真正的文獻,但同時,人們也越來越感到懷疑。基本上,我算是 一個誠實的人,所以我讓相機捕捉那些進入它鏡 頭的一切事物……不管你相信與否,是否相信取 決於你,這不是我的責任,要怪就怪我的相機,別怪我 。”

.

.

Hiroshi Sugimoto was born in Tokyo in 1948. In 1970 he moved to Los Angeles and studied photography at the Art Center College of Design.
He lives in New York and Tokyo. He is best known for his highly stylized photographic series of seascapes, movie theaters, natural history dioramas, waxworks and Buddhist sculptures. These series provoke fundamental questions about the relationship of photography and time, as well as exploring the mysterious and ineffable nature of reality. His work also focuses on transience of life, and the conflict between life and death.

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.

Sugimoto’s use of an 8 × 10 large-format camera and extremely long exposures have garnered Sugimoto a reputation as a photographer of the highest technical ability. He is equally acclaimed for the conceptual and philosophical aspects of his work.

杉本博司1948年生於日本東京,1970年求學于美 國洛杉磯,現在他工作生活于紐約和東京。杉本 最為人們熟知的作品是那些具有標誌性的關於廣 闊無垠的大海、老式劇院、自然歷史景觀、蠟像 和佛教雕塑的作品。這些系列的攝影探討關於拍 攝與時間之間關係的問題,同時也是對“什麼是現 實”這樣本質而又神秘莫測、不可言喻的問題的探索。他的作品聚焦于生命的短暫以及生命與死亡 之間的衝突。

近年來,杉本的創作風格越來越堅實,同時也更 為注重抽象的表達。他打破了和超越了攝影的幻 覺,來抓取在攝影所架構的理想空間內轉瞬即逝 的瞬間。在他的建築(Architecture, 1997-2002 )系列作品中,他不是用相機來拍攝現代主義的 建築,也不是用來展現和闡明建築的細節,杉本 用模糊的影像來抓取建築在人們心中的投影。

杉本所採用的8*10規格的大畫幅相機創作,並 且採用超長時間曝光的技術,這都表現了他擁有很高的技術能力,而更重要的,他的作品也在觀念和哲學層面獲得了極高的聲望。