APERTURE: Your latest series of photographs, “Conceptual Forms,” currently on view, consists of two parts, “Mechanical Forms” and “Mathematical Forms.” When did you begin this series and what was the origin of the idea?

SUGIMOTO: The issue of art and science has been in my mind for more than two decades. The execution of the photography took place last year. However, the interpreting of the idea into a photograph is the very last stage in my artistic process.

APERTURE: You chose the Fondation Cartier pour l’art contemporain specifically to present this work and created a special installation for it. As readers of Aperture may only be familiar with this series as it has appeared in print, could you talk about the installation and how it relates conceptually to the project overall?

SUGIMOTO: I have recently discovered how Duchampian I am. In my installation I have related my “Conceptual Forms” to Duchamp’s famous Large Glass. The Cartier Fondation’s building, designed by Jean Nouvel, is a large glass box. I decided to use this large glass to present my new work, as a three-dimensional metaphor for Duchamp’s Large Glass.

APERTURE: Is the installation of your work usually tied conceptually to a project?

SUGIMOTO: No question. The installation is always conceptually tied to the work.

APERTURE: Time has been the central focus of many of your projects. Can you talk about how the theme of time relates to the “Conceptual Forms” series?

SUGIMOTO: The modern era passed a long time ago and the machine age is gone. I felt it was time for this period to be re-photographed.

APERTURE: From “Dioramas and Wax Museums” to “Theaters” to “Architecture Landmarks,” you have consistently worked in series. What has drawn you to this working method?

SUGIMOTO: I am not a hunter type of photographer. I always try to give shape to my vision, and photography happens to allow me to see these things. I don’t take a picture rather I picture my idea. By continuing to work in a series I can deepen my ideas with variations on my vision.

APERTURE: Often, work described as “conceptual photography” does not place craft in high regard. Your work, however, is both highly conceptual and executed with meticulous attention to the processes of photography. How do you relate concept to the mechanics of photography?

SUGIMOTO: I call myself a pre-postmodern modernist. I still believe that the spirit of art is tied to the quality of the craft.

APERTURE: The intersection of art and science informs this series, and in previous projects, for example “Dioramas,” you have made scientific models and specimens the subject of your work. The medium of photography has a close relationship with the field of science. In terms of your work, how do the two relate?

SUGIMOTO: Art and science share a common origin, as well as religion.