Hiroshi Sugimoto's works are detailed.

"One night, when I was taking photos at the American Museum of Natural History, I suddenly had an idea. I asked myself, what would it be like if I took a whole movie in one photo? I replied in my heart, you will get a shining canvas. In order to realize this idea, I started the experiment at once. One afternoon, I took a large-format camera to a very cheap cinema in the east. As soon as the movie started, I opened the big aperture and pressed the shutter. Two hours later, at the end of the film, I closed the aperture and developed this film that night. My imaginary picture suddenly appeared in front of my eyes. " -Hiroshi Sugimoto.

This is the source of inspiration for the series of Hiroshi Sugimoto's famous photography "Cinema". In Hiroshi Sugimoto's "Cinema" series, the center of each picture in the whole set of photos is a square. This regular square is the trace of a complete film and a tangible record of a certain period of time. However, these traces appeared, existed and disappeared during these times, and finally turned into a blank. At the end of a movie, when the audience dispersed one after another, the conversation disappeared, the laughter disappeared and the footsteps disappeared. Quietly, the only thing that still exists is the screen that has played countless movies, the seat with a trace of human body temperature and everything belonging to the cinema building, which witnessed the passage of time. When everything has experienced the erosion of time and the baptism of years, it will carry countless stories, and each story will obviously or not obviously change the thing itself. The cinema is such a place with countless stories. There are stories of joy or sadness on the screen, and ordinary stories of trivial joys and sorrows under the screen. When you sit quietly in the cinema after the show, do you hear them whispering those stories? Seascape works present a variety of water shapes, which are also confusing with a simple composition: the horizon evenly divides the sky and the water surface into two. Although the title is "Jamaica, Caribbean", the photo doesn't have any geographical signs, just light, air, water and atmosphere. When emphasizing these natural elements, Hiroshi Sugimoto seems to have put down the veil in front of reality, added ideas to tangible objects, and returned the sea to its ontological state of water and air. Despite its almost abstract and mysterious geometric composition, and the repeated relationship between Yin and Yang from one picture to another, the sea has finally returned to the original state that human beings have never touched. Hiroshi Sugimoto's seascapes are no longer photos of the sea. They eventually become something rising from the dark past, a vision beyond our existence captured by a time machine. Those sea substances, such as water and air, suggest the origin of our life.