Elizabeth II., 1999

Hiroshi Sugimoto’s Elizabeth II, 1999 is a meticulously crafted work from his celebrated Portraits series, for which the artist photographed wax figures of historical and cultural icons. In this series, Sugimoto explores the recurring question that has consistently surrounded the photographic medium: what is the relationship between painting and its lens-based counter-part?

Thus, Elizabeth II exists as more than a portrait; it is a profound meditation on the nature of representation and memory. By photographing a wax figure, Sugimoto blurs the lines between reality and artifice, challenging viewers to question their perceptions of authenticity. This exploration of identity and historical memory resonates deeply in today’s context, where the boundaries between the real and the fabricated grow increasingly blurred. Sugimoto’s ability to transform lifeless wax figures into seemingly living portraits invites viewers to reconsider the traditional definitions of portraiture and the role of the camera in capturing human likeness.

The late 1990s was a time of significant technological advancements and a growing fascination with the presence of digital manipulation in photography. Amidst this backdrop, Sugimoto’s work stands out for its engagement with classical themes and mastery of detail. Featuring wax statutes from various wax museums around the world, especially at London’s Madame Tussaud’s, Sugimoto’s Portraits transform wax into real. From Elizabeth II, to Napolean, to Oscar Wilde, to Princess Diana, Sugimoto urges the viewer to question the authenticity of representation and the nature of historical memory.

Sugimoto’s technical prowess is evident in the tonal richness of the print – the meticulous rendering of the Queen’s attire, the lifelike texture of her skin, and the subtle interplay of light and shadow all contribute to a portrait that feels both intimate and monumental. Basing his photographic series on historical paintings by court painters to the British crown, Sugimoto generates a new understanding of the possibilities of these mediums – and the substitutions that can occur between creative mediums. His approach does two-pronged work in both honoring the traditional techniques of painting and pushing the boundaries of what can be achieved through photography.

The work’s inclusion in major exhibitions at the National Portrait Gallery in London and The Getty Museum in Los Angeles underscores its critical acclaim and importance within Sugimoto’s oeuvre. The conceptual depth of Elizabeth II paired with Sugimoto’s technical brilliance, generates a thoughtful commentary on the nature of identity and history, ensuring the photograph’s timeless allure and lasting significance.