HIROSHI SUGIMOTO /
"Time Exposed" consists of 50 different images of seascapes subject to the artist's method of using short
exposures to capture the essence of a specific place. The photographs were taken with an 8 x 10 inch
large format camera.
Time Exposed was published in 1991 in an edition of 500. Each image is a tri-tone offset lithographs,
printed by Mitsumura Printing Co., and is tipped in on individual archival Peach Kent paper. The size of
each image is approximately 9.5 x 12.5 inches. Paper size: 13.75 x 18.25 inches Sugimoto has signed
the colophon only, but each print is elegantly identified by location - embossed under the image.
Each single image is priced at $575.
Images in simple white wood frames w UV plexi: $735.
exposures to capture the essence of a specific place. The photographs were taken with an 8 x 10 inch
large format camera.
Time Exposed was published in 1991 in an edition of 500. Each image is a tri-tone offset lithographs,
printed by Mitsumura Printing Co., and is tipped in on individual archival Peach Kent paper. The size of
each image is approximately 9.5 x 12.5 inches. Paper size: 13.75 x 18.25 inches Sugimoto has signed
the colophon only, but each print is elegantly identified by location - embossed under the image.
Each single image is priced at $575.
Images in simple white wood frames w UV plexi: $735.
Hiroshi Sugimoto says that following about "Time Exposed:
The first portfolio of seascapes I published was entitled 'Time Exposed' because time
is revealed in the sea. When I began thinking about the seascapes I was thinking,
what would be the most unchanged scene on the surface of the earth? Ever since
the first men and cultures appeared, they have been facing seas and scenes of
nature. The landscape has changed over thousands, millions of years, man has
cultivated the ground, built cultures and cities, skyscrapers. The seascapes, I
thought, must be the least changed scene, the oldest vision that we can share with
ancient peoples. The sea may be polluted, but it looks approximately the same. So
that's a very heavy time concept. People have a lot of strange ideas about my
seascapes - they think these photographs were done using very long exposures, but
they are in fact very fast because I wanted to stop the motion of the waves, which
are constantly moving.
Sugimoto's seascapes represent something that is both mysterious and
unobtainable. We have all seen the beautiful horizon lines, whether they are at a
body of water or the vast grasslands of West Texas. But the horizon is something
that we can not capture. We can move towards the horizon, but it simply moves
along with us.
Individually, these photographs may not be "minimalist". They portray tremendous
detail. But in sets, they become repetitions of 1/2 sea and 1/2 sky. These surfaces
differ, and yet we know that the composition that makes up each image is the same.
The first portfolio of seascapes I published was entitled 'Time Exposed' because time
is revealed in the sea. When I began thinking about the seascapes I was thinking,
what would be the most unchanged scene on the surface of the earth? Ever since
the first men and cultures appeared, they have been facing seas and scenes of
nature. The landscape has changed over thousands, millions of years, man has
cultivated the ground, built cultures and cities, skyscrapers. The seascapes, I
thought, must be the least changed scene, the oldest vision that we can share with
ancient peoples. The sea may be polluted, but it looks approximately the same. So
that's a very heavy time concept. People have a lot of strange ideas about my
seascapes - they think these photographs were done using very long exposures, but
they are in fact very fast because I wanted to stop the motion of the waves, which
are constantly moving.
Sugimoto's seascapes represent something that is both mysterious and
unobtainable. We have all seen the beautiful horizon lines, whether they are at a
body of water or the vast grasslands of West Texas. But the horizon is something
that we can not capture. We can move towards the horizon, but it simply moves
along with us.
Individually, these photographs may not be "minimalist". They portray tremendous
detail. But in sets, they become repetitions of 1/2 sea and 1/2 sky. These surfaces
differ, and yet we know that the composition that makes up each image is the same.
Pacific Ocean, Iwate
Altlantic Ocean, Cliffs of Moher
Mediterranean Sea, La Ciotat
Altlantic Ocean, Cliffs of Moher
Mediterranean Sea, La Ciotat
Sea of Japan, Hokaido
Pacific Ocean, Oregon (312)
Ionian Sea, San Cesarea sold
Pacific Ocean, Oregon (312)
Ionian Sea, San Cesarea sold
Lake Superior, Cascade River sold
Lake Superior Eagle River
Ligorain Sea, Saviore
Lake Superior Eagle River
Ligorain Sea, Saviore
Mediterranean Sea
Norvegian Sea
South Pacific Tearai sold
Norvegian Sea
South Pacific Tearai sold
Sea of Japan Oki
Marmara Sea, Silvili (370)
Marmara Sea, Silvili (371)
Marmara Sea, Silvili (370)
Marmara Sea, Silvili (371)
Please Check for availability.