[{"img":"1606/15/d7fa434c9af43c8ca4de7e872a6aa73b.jpg","width":3000,"height":2321,"content":"","text":""},{"img":"1606/15/3ba5acd66c4c3fa8a7b4d85104ee555c.jpg","width":650,"height":506,"content":"","text":""},{"img":"1606/15/f8da95e52810311cac871e477b2ea63a.jpg","width":1024,"height":791,"content":"","text":""},{"img":"1606/15/955467b87de83c0f997985041ac52899.jpg","width":1200,"height":927,"content":"","text":""},{"img":"1606/15/55a96523b8f83afaa4e57003d97232cf.jpg","width":1024,"height":786,"content":"","text":""},{"img":"1606/15/f810bb0efe0b3dd49c63f3a686370b17.jpg","width":800,"height":613,"content":"","text":"80年代的“海景”系列，杉本以冷静抽离得近乎零情绪的影像语言从容地描绘着最抽象的时间。他在取景框上画了一条将画面中分的水平线，以此为其整个系列构图。“海景”里只有水和空气，两样自有人类以来迄今为止变化最少的物质。世异时移，一瞬抑或永恒，而我们都有最相似的关于水和空气的记忆。杉本说该系列最初的灵感来源是他童年记事以来最反复的思索: 我是谁，我从哪里来，我要去哪里？

黑白灰的魔力被杉本以纯青之火慢炖成精，千变万化绝无枯燥。站在巨型的“海景”面前，是直逼洪荒之初，一人面对宇宙的震撼。

《海景》"},{"img":"1606/15/0dcbaffad8bc311e855771e4eb977060.jpg","width":1024,"height":799,"content":"","text":""},{"img":"1606/15/0e376f8471b83bc5ae9dea9449304904.jpg","width":1024,"height":843,"content":"","text":""},{"img":"1606/15/ddc2967689563599ac8d8b2f6612884e.jpg","width":1024,"height":819,"content":"","text":""},{"img":"1606/15/6bef0f8da91d3f189bda2d010067dc16.jpg","width":2946,"height":2291,"content":"","text":""},{"img":"1606/15/3a019b8ed06733e5ba2648318777ba4b.jpg","width":940,"height":752,"content":"","text":""},{"img":"1606/15/55f8bd26bade31d7a49a9dfea403daeb.jpg","width":1024,"height":798,"content":"","text":"90年代的“建筑”系列用失焦手法来纪录下世界各地著名的建筑物。时间的洗礼令记忆变得模糊，为现实添上皱纹，曾经崭新的建筑物也不复当年模样。当我们手上拿着新鲜生动的明信片来到地标前难免感叹岁月痕迹的不留情面，杉本刻意地的让镜头下的建筑物朦朦胧胧如近视眼看到的场景，以此让建筑物得以穿越时间之箭，回到最接近当初竣工时的可能原型。

《建筑》"},{"img":"1606/15/a23da24eb3483b12823da3ebd45f6f06.jpg","width":600,"height":744,"content":"","text":""},{"img":"1606/15/6bb44160d2be3447888d7af63806234a.jpg","width":673,"height":850,"content":"","text":""},{"img":"1606/15/875a72f3a0a0320495d63bf5e66ca27d.jpg","width":809,"height":1009,"content":"","text":""},{"img":"1606/15/2eb52e63e1f13028afe713d55fea0431.jpg","width":798,"height":999,"content":"","text":""},{"img":"1606/15/b1dfb467b7703015a15aa0bfca44cccf.jpg","width":639,"height":800,"content":"","text":""},{"img":"1606/15/66d8bc4481b531c1960ee9177ad20a35.jpg","width":2852,"height":3543,"content":"","text":"2014年杉本出版了最新摄影集《ON THE BEACH》其中的作品是他在1990年新西兰一荒芜的海滩拍摄“海景”系列时的遗拾。沙滩上七零八落地散落着一些外观上看约来自60年代的汽车零部件，它们如何来无从得知，那一刻支离破碎地腐朽在一片无人沙滩上，在大自然的轻抚下也终将化整为零，消失殆尽。

哪怕那些零部件曾经被奉为推动人类文明跃进的辉煌利器，区区几十年便不留痕迹；而大海依然潮起潮落生生不息。一瞬间的错觉杉本以为几千年的人类文明也已经完结，顿悟时间之墟的自然和必然，无限寂寥。

《On the beach》"},{"img":"1606/15/8d32ed76a8213d5094688ea2e706e259.jpg","width":619,"height":948,"content":"","text":""},{"img":"1606/15/ffb2afe71eab30d7ad87b14639d88ecf.jpg","width":1076,"height":1600,"content":"","text":""},{"img":"1606/15/6e3cc49d5f403800bd300fcaaf87b754.jpg","width":1060,"height":1600,"content":"","text":""},{"img":"1606/15/43f0f27899733f0d9fd9f23f27acf498.jpg","width":1240,"height":1240,"content":"","text":"最新的作品之一“闪电原野”系列，杉本实验性地在暗房里通过手动连接电极通电，模拟闪电并直接曝光在犹如桌子大小的里斯型胶片上以获得生命起源的火花烙印。“闪电原野”系列每一张作品都独一无二，充满动态激情和绽放的能量，是绝对的视觉盛宴。

《闪电》"},{"img":"1606/15/109174128c8a37cfa3e121a6e76e2f7c.jpg","width":963,"height":1200,"content":"","text":""},{"img":"1606/15/88a84dd585213f6095f7eee14df78f52.jpg","width":1123,"height":1400,"content":"","text":""},{"img":"1606/15/6b943487b614384e956395e1aec071d1.jpg","width":1000,"height":1246,"content":"","text":""},{"img":"1606/15/d6e2b76a5dc632f8b590d70169be661d.jpg","width":1000,"height":1243,"content":"","text":""},{"img":"1606/15/81f8a1c922d536c494f51d8e00c8ff3c.jpg","width":1000,"height":1248,"content":"","text":""},{"img":"1606/15/d36965c4fb263b2a9549a9738d9be22e.jpg","width":1000,"height":1251,"content":"","text":"杉本用有形之景描绘世界无形之像，或许他真正要讲述的只是一个探索与追问的过程。他作品的力量在于启发我们自己对这个世界的思考。摄影不过是一媒介工具，让我们思前想后，回味再三的才能经得起时间的冲洗，留下痕迹。"}]