The journal is a platform to publish our research studies on design, photography or an intersection of both.
A continual theme in the journal has been to construct practice-based activities in photography. In parallel, the approaches of acclaimed Japanese photographer Hiroshi Sugimoto (b. 1948) have served as a point in which to deconstruct conceptual art, and reframe it in a design thinking context. This is particularly true in the case of analysing Seascapes back in 2020. The goal then was to interact with the composition for a more tactile purpose.
Read MoreFor more than forty years, Japanese photographer Hiroshi Sugimoto (b. 1948) has photographed a simple composition. The centre of the frame aligns with the horizon to create a 50-50 division of sky and sea, or in Sugimoto’s words: “air and water”. The title for this series of works is Seascapes. His original concept behind the minimalist aesthetic was to share the same view with the early stages of mankind. To have a comparative view to our ancestors; he concluded that the image we can relate to looks out to the horizon. Elena Cué describes his work as: “a constant reflection about the origin and history of the world and of our culture, where concepts like space and time are explored expanding our ways of perception.” (Cué, 2016). The composition is synonymous with Sugimoto. But is it original? And can the same aesthetic be utilised for a different purpose?
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