Hiroshi sugimoto camera repair
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In ancient Shinto practices, a shrine derived its power from the gods that reside in the surrounding landscape, and the choice to place a boulder at the center of this space is an act that recognizes the rocks from which these islands are made as spiritually central. Finally, the Go'o Shrine is a space that allows the visitor to observe from the edges, but not to approach or enter the sanctuary, suggesting the ultimate unknowability of the spiritual realm.
Site-Specific Installation - Go'o Shrine, Benesse Art Site Naoshima, Japan
Biography of Hiroshi Sugimoto
Childhood
Hiroshi Sugimoto was born in Tokyo in 1948.
Sugimoto's images of austere, formally pure interiors strip away superfluous detail, creating a suspended state in which it is the play of light and shadow that connect the world of the image with the world outside. This is one of a group that Sugimoto created and later photographed in a series entitled Mathematical Models (2005 - 2015); the photographs are usually displayed alongside the model, though each object is an independent work of art itself.
This opera house is shown as a site that balances the glowing screen, suggesting it is a space with the power and dignity to contain the intangible and positioning it as a sacred space in which we are moved by encounters that reach beyond our own lives.
Gelatin Silver Print
2002
Appropriate Proportion
Appropriate Proportion is a site-specific installation, created as part of the Art House Project on the island of Naoshima, in which individual artists are given an empty or abandoned building in the town of Honmura with which to work; Sugimoto's intervention takes place in and around Go'o Shrine, which dates from the Muromachi period (1338 - 1573).
He has spent the bulk of the last decade focused on the Enoura Observatory in Odawara, Japan, which opened in October 2017, housing Sugimoto's collection of Japanese antiques alongside a teahouse and spaces for the production and performance of traditional Japanese theater.
Summary of Hiroshi Sugimoto
Hiroshi Sugimoto's work has achieved widespread recognition for its exploration of abstract concepts, such as time, vision and belief, through meticulously balanced images that encourage prolonged attention and serve to focus audience consideration on the ways in which humanity makes sense of itself.
Deardorf 8x10 He also sometimes uses an 11×14 large format camera for extremely high-resolution work. It’s heavy, slow, and fully manual — but also supremely capable of producing images with exquisite detail and tonal range. At the center of this area, onto which the visitor is prohibited from stepping, is a large boulder, upon which Sugimoto has built a small wooden worship hall.
Sugimoto's interest in images that transcend geographic and temporal conditions can be connected to his childhood experiences and to his ongoing interest in abstract concepts such as belief, vision, and culture. Whether he’s photographing the sea horizon, empty movie theaters, or dioramas at natural history museums, Sugimoto’s work is technically immaculate and deeply philosophical.
In San Francisco, his 68-foot sculpture Point of Infinity was installed on Yerba Buena Island, commissioned by the Treasure Island Arts Program in partnership with the San Francisco Arts Commission. His plans were approved in 2021, and the project is currently under construction. Camera Gear & Technical Method Main Camera: Deardorff 8×10 View Camera Sugimoto’s primary camera is a Deardorff 8×10 large format field camera , a wooden-bodied bellows camera originally designed in the 1920s.
The shrine's sanctuary is beyond this, taking the form of another wooden structure, elevated from the ground with a central staircase of rock and glass connecting it to the space below the boulder.
The spectrum that Sugimoto explores in the series is derived from Isaac Newton's analysis of optics and these works can be seen as a continuation of Newton's experiments with devices that isolate and record natural light.
His decision, in 1971, to apply to study commercial photography at the ArtCenter College of Design in Pasadena, near Los Angeles, was motivated largely by his desire for a visa that would allow him to spend an extended period in California. In Praise of Shadow records a candle as it burns down, creating a long-exposure record of flickering light over the course of a night.
An interest in the fundamental rules that govern natural phenomena has been a recurring theme in Sugimoto’s work.
Sugimoto believes that the camera can make visible that which the eye cannot see, most notably including time itself and the emotional effects of space.