NEW YORK - Keith Miller had the pleasure of visiting with Go Sugimoto to talk about his work and his upcoming exhibition at M.Y. Art Prospects. The show will run from September 6 - October 13, 2007. His work will also be featured in "Making a Home: Japanese Contemporary Artists in New York," Japan Society, New York from October 5, 2007 - January 13, 2008.
To see more about Sugimoto, click here for his Spotlight Profile.
GS: First of all I wanted to break the rules of conventional black and white photography. Usually these prints tend to have rich blacks and whites and decent details in the shadows. However, since I love black and white gelatin silver prints, I wanted to use them like brush and paint. This is how I came up with this idea of challenging myself to make photos that use very high key tone. I also wanted to make some kind of work from something close to me...something we have next to us. I believe that finding things close to us can affect and help improve our life when we face small or big problems in our realities. Having different ways of thinking always helps us to get out of the hole we will possibly be in. I have often had ways of thinking that could tend to be black and white. I could also say that is like being extreme.
KM: In this series, one of your main tools is extreme contrast and extreme blacks, elements almost completely absent from the Paper-Work images of paper. How would you describe the difference in working method and conceptual approach between the two bodies of work?
GS: I change my contrast to be able to express what I would like to make. It’s just a technique. It’s hard to explain this, but I think we have opposite sides inside of us. I didn't feel funny about doing something really opposite because it felt natural to use this effect as my tool to express myself.
KM: How does technique affect your work?
GS: I don't think that I have very good technique because I am not doing anything very special or technical. I am just thinking differently about how to use them to do my work. It is very simple actually. You would be surprised at how I do them. I do like work that is made without high technique or technologies. I like people who make work from what they have next to them. I like the idea and I think they are great artists.
KM: Can you name a few artists whose work has influenced you?
GS: Well...many, many artists…alphabetically… David Hockney, Les Krims, Christian Marclay, Chema Madoz, Kunie Sugiura, , Hiroshi Sugimoto, Sam Samore, this might be too many…let’s edit this later...and I wish Hiroshi Sugimoto was my father...just kidding, if he was it could have been a disaster...too big a mountain to climb over. Actually Kunie Sugiura has just published a book called Artists and Scientists from Nazraeli Press. It’s a great book. Please take a look at it.
KM: There is often a desire to read an "Eastern" approach into the work of Japanese or Asian artists. For example, one might read a "Zen-like" calm into your paper photos; in the night photos one might feel the airiness of great Chinese landscapes, as the spaces seem to melt into one another. Do you see your work as having any relation to these kinds of issues?
GS: Yes, I do. I consider myself as a Hybrid Asian Artist since I have been here in New York since 19 years old. It’s in my D.N.A. How could we stop this? I am a Japanese guy. It’s also my nature to be natural and organic, maybe poetic too. I say funny things from time to time.
KM: In our conversation you mentioned that you have a two-dimensional concept of space and, despite making paper objects, you conceive of them only as the final flat photos. Can you elaborate?
GS: I don't know how I got this way of seeing. I am not good at gymnastics...I have a good example here. I have a friend who is really good at gymnastics. He can do jumps and turns like an Olympic athlete. It’s unbelievable. His work has a real sense of three-dimensional space and he is very good at sculpture. However, I do not have the sense of jumping and turning which is taking the space as three-dimensional. I have always ended up with something flat all my life. This is my nature.
KM: Your new photos are of flowers. Tell us about them. Why flowers?
GS: Flowers and plants have been always good friends of mine, ever since I was a child. My grandmother, who I spent a lot of time with in my childhood, loved flowers and plants. She even had a name from one of the flowers. I just think this is a basic object that has always been around me.
I titled my show “Day Dream in My Garden” because flowers and plants are one of the most necessary things for me in my life. I often feel that I am surrounded by them and feel happiness without any specific reason. When I had a hard time in my life, I found flowers and plants on the street and they gave me such feelings of comfort. Also, in photography, a lot of people have used flowers. As I am working with photography, I wanted to challenge it… I wanted to do my own way with these same objects.
ArtSlant would like to thank Go Sugimoto for his assistance in making this interview possible.