Hiroshi Sugimoto

Hiroshi Sugimoto ’s third solo exhibition at Lisson marks a resonant return to New York, tracing a fifty-year dialogue between the artist and the city that helped shape his vision. Featuring new photographs from the artist’s Diorama series, created this past year through rare access to unseen displays at the American Museum of Natural History, Sugimoto returns to the body of work that first revealed his extraordinary ability to suspend both time and reality. Alongside these works, new washi paper screens transform his images into luminous byōbu, merging sculptural presence with immersive pictorial depth. Together, these bodies of work affirm Sugimoto’s enduring mastery of perception, artifice and the poetic boundaries of lens-based media.

About the artist

Through photography, sculpture, architecture and performance, Hiroshi Sugimoto manipulates the inexorable march of time and the vast mysteries of space, stalling the clock in order to create monumental forms from historically significant or fleetingly poetic moments. By approaching the artificial with an eye for the natural, in his realistic photographs of museum dioramas or waxworks, and vice versa, in his images of buildings or interiors that seem to melt all that is solid, Sugimoto proves his mastery as one of the world’s greatest artists and innovators of lens-based media. This concept-driven approach begins with the ideation of an image and is only completed upon the work’s execution, usually employing a large-format camera as his primary tool.

Sugimoto’s rigorous and scientific approach to subject matter, whether capturing a bolt of electricity directly onto film or splitting light into its constituent colours, characterises his lifelong commitment to experimentation, which has seen the artist creating ambitious sculptural models and public commissions from seemingly impossible mathematical equations. His polymathic practice extends into architecture, through the New Material Research Laboratory he founded in 2008, producing innovative solutions for the future of the built environment using traditional means, methods and craftsmanship. In the following year, Sugimoto founded the Odawara Art Foundation with a similar aim, to further the heritage and appreciation of Japanese performing arts. In 2017 these multiple passions culminated in the Enoura Observatory , a site for performance, reflection and astronomical connection to the cosmos. This is also today the sole location of Sugimoto’s series of Seascape photographs, which captures equal halves of sea and sky above and below the horizon line on New Year’s Day, the only time in the calendar when no boats can be seen on the water.