Hiroshi Sugimoto, ‘Sea of Japan, Oki IV’, 1987, Sotheby's

Neither Appearance Nor Illusion: Property from the Collection of Santiago Barberi Gonzalez

Signature: blind-stamped with the title, date 1987 and number 18/25 in the margin; signed on the mount

Raleigh, North Carolina Museum of Art, In Focus: Contemporary Photography from the Allen G. Thomas Jr. Collection, April - July 2005 (another example exhibited)
Asheville Art Museum, Time is of the Essence: Contemporary Landscape Art, February - June 2008 (another example exhibited)
New York, Yoshii Gallery, Hiroshi Sugimoto: Sea of Japan, Oki 1987, September - October 2016 (another example exhibited)

Galerie Ulrich Fiedler, Berlin
Private Collection, Germany
Hamburg Kennedy Photographs, New York
Acquired from the above by the previous owner in 2007

About Hiroshi Sugimoto

To craft his exquisite black-and-white images, Hiroshi Sugimoto uses a 19th-century-style, large-format camera, exploring his idea of photography as a method for preserving and modeling time. “Endeavors in art are…mere approximations, efforts to render visible unseen realms,” he says. Influenced by Surrealism and Dada, Sugimoto's work is intimately connected to Marcel Duchamp, as in his series "Conceptual Forms" (2004), (inspired by Duchamp's The Large Glass, 1923), large-scale black-and-white photographs of mathematical models and tools. Ongoing subjects include dioramas, theaters, Buddhist sculptures, and seascapes—the latter captured in a famous series of near-abstractions, coupled with specific geographic titles. A supreme craftsman, Sugimoto often varies the length of exposure to achieve tonal richness, as in “Joe” (2006), photographs of Richard Serra’s works that function as visual memories more than documentation. “I imagine my vision then try to make it happen, just like painting,” he says. “The reality is there, but how to make it like my reality.”

Japanese, b. 1948, Tokyo, Japan, based in New York, New York