‎杉本博司

款識
《Sea of Japan, Rebun Island》，1996，Hiroshi Sugimoto，16/25

柏林，Ulrich Fiedler 畫廊
亞洲私人收藏

日本, 東京, 森美術館; 美國, 華盛頓特區, Hirshhorn 美術館及雕塑花園〈杉本博司〉 二〇〇五年九月十七日至二〇〇六年一月九日; 二〇〇六年二月十六日至五月十四日，139頁 （另一版數）

This work is generally in good condition. Please note it was not examined under ultraviolet light and out of its frame.
"In response to your inquiry, we are pleased to provide you with a general report of the condition of the property described above. Since we are not professional conservators or restorers, we urge you to consult with a restorer or conservator of your choice who will be better able to provide a detailed, professional report. Prospective buyers should inspect each lot to satisfy themselves as to condition and must understand that any statement made by Sotheby's is merely a subjective, qualified opinion. Prospective buyers should also refer to any Important Notices regarding this sale, which are printed in the Sale Catalogue.
NOTWITHSTANDING THIS REPORT OR ANY DISCUSSIONS CONCERNING A LOT, ALL LOTS ARE OFFERED AND SOLD AS IS" IN ACCORDANCE WITH THE CONDITIONS OF BUSINESS PRINTED IN THE SALE CATALOGUE."

杉木早年創作有兩個極重要的系列，分別為「透視畫館」及「劇院」系列。前者以紐約自然歷史博物館中的動物標本為主題，精確無誤的拍攝，讓標本注入新生，重新定義攝影。後者以戲院為題，杉木把攝影機帶進戲院，以銀幕上影片為底片爆光，兩個小時的電影濃縮在一片白光之中。從這兩個系列，我們可以看到杉木深受極簡主義及觀念藝術的影響。對生命及歷史的探問是杉木作品中一個永恒的主題，其中隨後的「海景」系列絕對是藝術家探索生命起源的重要系列。杉木自一九八O年開始拿著大型相機，往世界各地進行拍攝。每張相片中的海平線均把照片分開一半。浩瀚寬闊的海洋孕育著生命，千古不變。杉木透過攝影超越時間，連接與遠古歷史。正如他自述︰「奧秘中的奧秘，我們面前的大海滿是水與空氣，每當我遠眺大海，我總感到平靜的安全感，就好像回到我的祖屋，我開展了觀看的旅程。」今次拍賣的「海景」系列為《日本海，禮文島》 (拍品編號867) 及《愛琴海, 皮立翁》(拍品編號868) ，前者的天與海分隔相當清晰，而後者的天海之間，有著霧氣，模糊了當中的分野，見海非海。這兩張「海景」完全代表了系列的精髓，我們彷彿從杉木的攝影中，看到了永恒生命的源頭。