Hiroshi Sugimoto, ‘World Trade Center’, 1997, Phillips

“I’m trying to recreate the imaginative visions of the architecture before the architect built the building, so I can trace back the original vision from the finished product. All the details and all the mistakes disappear; there’s a lot of shadows, melting. If the building is successfully done, then it will remain strong even out of focus.” Hiroshi Sugimoto
Courtesy of Phillips

Signature: Signed on the mount; blindstamp number 4/25, 906 in the margin.

Hatje Cantz, Hiroshi Sugimoto, p. 205

Gallery Koyanagi, Tokyo
Private Collection

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