His cinema series highlights a certain sense of a photographic tradition that runs throughout all the series'. Not only is he putting his image through a mechanised process but his image is of thousands of 'found' images strung together and seen as a movement that have also been through the same principles of the process as his. It is a very accurate and meticulous process, necessarily so, as he explained to Thomas Kellein in an interview "It is like listening to insects in a field. With a garbage truck next to the field you won't hear anything..."
The division between the still and moving image is reversed - the moving image of the film projection becomes a white space and what we would normally perceive as being still - the surrounding landscape and sky - becomes the movement. Structurally and compositionally it reverses the traditional central subject, foreground and background relationship, with all the action instead taking place on the perimeter of the image.
The compositional boundary created by the camera and the photographic process allows the gallery viewer to have time to actually look at the image. For we see the same amount of light as the cinema viewer would, but condensed into one action. But we actually look at the part of the scene that the cinema viewer would probably ignore - the environment that the projection is in, and the structure of the space. This is central to all of Sugimoto's series in one way or another in that he gives us an ability to focus on the essential structure of the thing. It is here that his work can be seen in a minimalist sense in that he uses the camera's constraints and typicalities to pare down his subject to the essential structures that are present.
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His cinema series highlights a certain sense of a photographic tradition that runs throughout all the series'. Not only is he putting his image through a mechanised process but his image is of thousands of 'found' images strung together and seen as a movement that have also been through the same principles of the process as his. It is a very accurate and meticulous process, necessarily so, as he explained to Thomas Kellein in an interview "It is like listening to insects in a field. With a garbage truck next to the field you won't hear anything..."
The division between the still and moving image is reversed - the moving image of the film projection becomes a white space and what we would normally perceive as being still - the surrounding landscape and sky - becomes the movement. Structurally and compositionally it reverses the traditional central subject, foreground and background relationship, with all the action instead taking place on the perimeter of the image.
The compositional boundary created by the camera and the photographic process allows the gallery viewer to have time to actually look at the image. For we see the same amount of light as the cinema viewer would, but condensed into one action. But we actually look at the part of the scene that the cinema viewer would probably ignore - the environment that the projection is in, and the structure of the space. This is central to all of Sugimoto's series in one way or another in that he gives us an ability to focus on the essential structure of the thing.
It is here that his work can be seen in a minimalist sense in that he uses the camera's constraints and typicalities to pare down his subject to the essential structures that are present.
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