decide how you should look at my Seascapes. I shouldn’t tell you to see this or that. I just let people see
naturally, and then you often see yourself reflected in my art. It hypnotizes you. Usually, the more you look
at it, the more you like it. So that’s how the Seascapes became the best series of my art. Many people hang
it in their bedroom for peace of mind. Some big collectors hang dramatic Murakami and Jeff Koons pieces
next to each other, but they only hang Sugimoto Seascapes in the bedroom. ANDREA. Do you ever think
about the impact your art has on people? SUGIMOTO. That, I have no idea. I don't want to take responsi-
bility. I'm very lucky that some people like my art—so that I can make a living here in Manhattan. ANDREA.
You've also spoken about your work in the context of spirituality. How does your spirituality express itself in
your photography? SUGIMOTO. It comes out naturally from deep in
my spirit, I think. I am just a human being, but I feel the history of
humankind in my blood. Thinking about my ancestors, hundred of
generations before our time, I am always questioning how humans
gained consciousness and how the human mind developed into
what it is today. Looking at my Seascapes, I wonder if I am seeing
the same view that ancient people saw, sharing the same vision as
my ancestors. The land has certainly changed, but the seascapes
may not have changed much. These are always my big questions.
What is human? What is consciousness? ANDREA. Do you know?
I don't know yet [laughs]. What meaning does the tea ceremony
have to you? SUGIMOTO. This is a Japanese tradition that started
in the 16th century, founded by Sen no Rikyū, who started this mini-
malist statement of design as a performance art. The practice of
making one cup of tea in a beautiful manner as a performing art, in-
viting guests, just one or two, to share the same kind of spiritual
space in the elegant design of a small group. I found this kind of
Modernism in Sen no Rikyū's aesthetics, which align with our 20th-
century European mentality. I actually see a lot of spiritual similarity
between Sen no Rikyū and Marcel Duchamp. ANDREA. What do
you think about photography now? SUGIMOTO. But both fortunately
and unfortunately, I was born in an analog time, and I still personally like that better. If I were born now, I’d
have to adapt myself to the digital. But I have no time to pay attention [laughs] to other people’s work. My
foundation in Japan, the Odawara Art Foundation, which is my lifetime project, is taking up all of my time
and energy. It’s been a big investment. ANDREA. What comes next for you? SUGIMOTO. I have some
museum shows planned two years ahead of time. The next book will be the Architecture series. In Paris,
I’m going to be Artistic Director of the Paris Opera for one program for one month during opera season, the
350th year anniversary celebration. And this year in New York, I'm bringing my puppet theater to the Lincoln
Center. September in Paris, and October in New York—two big events. I always say that I am too busy that
I don't have time to die [laughs]. ANDREA. How lucky.
Hiroshi Sugimoto, Following spread: Franklin Park Theater, Boston, 2015; Following spread: Ligurian Sea, Saviore, 1993;
Following spread: U.A.Play House, New York, 1978; Following spread: Baltic Sea, Rugen, 1996
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