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国内外の彫刻家を招き、1988年から2006年まで隔年で開催された米子彫刻シンポジウムで制作された36体の彫刻は、米子市文化ホールから湊山公園までの新加茂川沿いの遊歩道約3キロにわたり設置されています。米子彫刻ロードは「美しい日本の歩きたくなるみち500選」のひとつとして選ばれるほど美しく、情緒に満ちています。 [Title of work] ㉞ Rice legend KAZUYOSHI HIRAI Born in Saitama prefecture 1958- [About the work] When I made it with Yonago this time, I was thinking of making it with children and rice, but I don't know much about the rice I eat every day. Rice is a versatile food that can be eaten if cooked, powdered into powder, processed food such as rice crackers, and fermented into sake, but I saw it at the beginning of the process of growing it. There was no. When I got rice and various kinds of rice from a farmer I knew and a rice shop to check the difference in shape, and when I dipped it in water and observed it, I was impressed by the vitality as if I woke up from sleep. Now that rice cultivation from the Yayoi period and human activities before that have continued forever. It was a legend in the United States that it would be a good opportunity to stop and think about what it was like in the past as the birthrate declined and the birthrate declined, and what it would be good to continue in the future. [Production] 2002 Yonago Sculpture Symposium [Session] July 13th -August 25th , 2002 [Participating in the Yonago Sculpture Symposium] I first participated in the sculpture symposium 21 years ago. I had a very good experience by making big stones that students couldn't buy in a short period of time and interacting with the participants. Therefore, I was very happy to have Yonago call me this time. At the preview in November last year, the installation location was in the neighboring Minatoyama Park, so I decided to make something with a certain height. Everyone wanted to put it in a large place, and after sharing it twice with the Amida lottery, it became the third choice place, and the next day, they took me to a stone dealer to search for rough stones. I met and ordered only one white granite whose shape was visible in the stone. Then, around June, the city's Culture Division sent me a production plan, and the rough stone arrived at the production site, but I was informed that it wouldn't move anymore because it was an odd size. I started drawing. I entered Yonago with anxiety about whether I could do it in 40 days with an esquis that could be made while lying down. After the opening ceremony, it was a difficult start because it could be rolled with a resident 3-ton forklift or it got stuck due to a key failure during the trial, and it could not be removed from the rough stone. It wasn't a welcome party, but I felt the welcome and expectations of the people in the city, and after drinking alcohol, I decided to start working positively, saying, "Something will happen! Let's do it from where we can." I asked Mr. Nakata, who is in charge of the city, to lease a 10-ton hydraulic jack with claws, and I was able to move the rough stone, so I knew that it could be close to the shape I originally imagined, and I carved it from the relief on the top. In addition, I changed from Esquis to lighter and concentrated on the work from morning till dark. Also, when I checked the installation location with the people involved in the city, I was planning to put it at Mr. Hishida's place, even though it was decided last year, and I realized that I was the only one, and my head became blank. I hurriedly searched for another place and asked if it could be changed to an open place that was not included in this year, and I was happy to decide on a suitable place like no other. When the rough carving is finished to the weight that can be moved with a forklift, the work can be done while standing upright, so the writer, the superintendent of education and the staff who were present can help and build stones, and the tent is also high. did. In addition, I borrowed a board that would be a bullet and a scaffolding board from Mr. Nakata's house, assembled it with the help of the staff, made the roof of the vertical, and produced it while being blown by a pleasant breeze at the height where the Nakaumi can be seen. Was done. At the time of the grindstone work, I asked the college students and the secretariat to help me, and at the request of the citizens, I put the stones destined to be abandoned, which were made by roughing, near the work. I feel like I've done more work than I had planned, but this is also the volunteers, the secretariat, the executive committee, the people who visited the venue, and the three people who worked together. I think it was created by everyone with cooperation and encouragement. Also, I am glad that I was invited to many events and entertainment and soaked in the hot springs. I'm really thankful to you. Return to photo

国内外の彫刻家を招き、1988年から2006年まで隔年で開催された米子彫刻シンポジウムで制作された36体の彫刻は、米子市文化ホールから湊山公園までの新加茂川沿いの遊歩道約3キロにわたり設置されています。米子彫刻ロードは「美しい日本の歩きたくなるみち500選」のひとつとして選ばれるほど美しく、情緒に満ちています。 [Title of work] ㉟ At the time of eyes KOICHI NAGANO Born in Hokkaido 1954- [About the work] My work is installed next to the sidewalk near the entrance to Minatoyama Park. At the preview meeting in late February, when I first visited Yonago, the artists discussed the planned four installation locations and decided on their own installation locations. There is a tall old tree near my place of installation. What will the work of this Yonago Sculpture Symposium look like? I devised a plan in Hokkaido while considering the selected stone and the space of the installation location. "Retina", "projection", "crossing", "drops of memory", "beat", "amplitude", "band of light", "active", "passive", and "conversion" There are "buried", "expression", "scene", "play", "transparency", "unstable shadow", "ambiguity", "provocative", and "smell". Many things are happening around us. The theme of this work is to stare at it. Three stones are placed. The stone in the center represents the eyes of reality and the eyes of the heart. The stones at both ends represent the past and future. I hope that it will become a work that fits nicely into the town of Yonago. [Production] 2004 Yonago Sculpture Symposium [Session] July 17 -August 28 , 2004 [Participating in the Yonago Sculpture Symposium] On the night of July 13, my ferry left the quay of Otaru and set out on a voyage. I finally realized that I was going to participate in the 2004 Yonago Sculpture Symposium. It was the night of July 14th that the ferry arrived in Maizuru, feeling the temperature gradually rising as I decided to go south on the Sea of Japan. On the morning of July 15th, I drove on the highway in fine weather and entered Yonago in the early afternoon. hot. The final inspection of tools such as air tools to bring and consumables such as cutter blades and loading into the car started one week before departure. I knew about the Yonago Sculpture Symposium for a long time, so I was hoping that one day I would be able to carve stones with Yonago. I am very honored to participate this time. I first visited Yonago at the preview meeting held in late February. The calm appearance of Yonago's town gave me a sense of security even though I visited for the first time. At the preview meeting, we confirmed the installation location and decided the location, and selected the stone to be used at the stone dealer. After returning to Hokkaido, I examined how to make the best use of the space of the installation site to install the sculpture. Production started on July 17th. According to local Yonago people, it seems to be hotter than usual this year, and by the way, the temperature of the Minatoyama Park parking lot at the production site was rising early in the morning. The days of making the electric fan prepared by the secretariat at full throttle continued. The production venue was visited by locals and other people from afar, and it was one of the pleasures to meet and talk with them. Volunteers took care of us throughout the session. "We writers can comfortably produce delicious homemade dishes, coffee and cold drinks during breaks, and washing work clothes such as shirts and trousers full of stone powder. Thank you for your attention. I also had a chance to loosen my shoulders. Thank you. There were three other writers who participated in this symposium, but I was taught a lot about the production method and the way of thinking about sculpture. There was a lot of sculpture during the session. Still, I was able to touch the sand at the famous Tottori Sand Dunes and had some time to relax at some hot springs. We enjoyed the taste of local seafood and meat, with the executive committee members feasting at home and the secretariat taking us to a delicious restaurant. The work was successfully installed thanks to the warm support of the mayor, executive committee members, secretariat, volunteers, traders, and other related parties. Thank you from the bottom of my heart. My work is installed beside the sidewalk at the entrance of Minatoyama Park. Please feel free to touch it. Among the children who participated in the sculpture class and made sculptures with stones, there may be people who will be responsible for the future culture of Yonago. I'm looking forward to it. Return to photo

国内外の彫刻家を招き、1988年から2006年まで隔年で開催された米子彫刻シンポジウムで制作された36体の彫刻は、米子市文化ホールから湊山公園までの新加茂川沿いの遊歩道約3キロにわたり設置されています。米子彫刻ロードは「美しい日本の歩きたくなるみち500選」のひとつとして選ばれるほど美しく、情緒に満ちています。

国内外の彫刻家を招き、1988年から2006年まで隔年で開催された米子彫刻シンポジウムで制作された36体の彫刻は、米子市文化ホールから湊山公園までの新加茂川沿いの遊歩道約3キロにわたり設置されています。米子彫刻ロードは「美しい日本の歩きたくなるみち500選」のひとつとして選ばれるほど美しく、情緒に満ちています。 [Title of work] ⑳Mound KEICHIRO MOMOSE Born in Nagano prefecture 1950- [About the work] When I first visited Yonago, I was impressed by the spacious and gentle mountains and the spacious sea. The mountain-shaped work of the "Mound" series, which I had been working on in a small studio in a building in New York for a long time, and the image of the scenery of this place fit perfectly, and I got the opportunity to make it here. I felt more than just a coincidence. When I actually started making it, I met the people who made it possible for me to make it here, and realized how many people are supporting this symposium. I am convinced that this one and a half month experience in Yonago will be a part of my life and will be a great foundation for my future life as a writer. [Production] '96 Yonago Sculpture Symposium [Session] July 13 -August 25 , 1996 [After the '96 Yonago Sculpture Symposium] Yonago, the legend of Ryugu Castle ... the mythical world ... It was in mid-July that Yonago landed in Yonago, where the heat is getting hotter every day. Two days before the symposium begins. I started the production in an environment surrounded by nature, such as mountains with a lot of greenery, the coast with pine forests where the bright summer sunshine shines, and the Nakaumi and beautiful coves shining in the setting sun. It was the first time in 15 years to produce in Japan, so I encountered various difficulties on the way. Production within a limited time was a big pressure for me, who is always non-spiritual and self-paced, but I was able to continue production as planned with the help of the artists participating in the symposium and the planning committee members. .. The theme of the work is the "Tsuka Series", which has been going on for a long time, and it has a shape reminiscent of the mountains of Yonago, which has a roundness like a bowl, and Shiroyama, where the castle used to be. The landscape with mountains shaped like a burial mound and the appearance of mountains with many bamboo forests are reminiscent of the original landscape of Japanese mythology. As a Japanese artist in New York, I continue to pursue my origins, and I feel that it is no coincidence that I was able to place my work in Yonago, where the beautiful old-fashioned nature remains. do. On the day when the sculpture shaped like a mountain made by stacking stones called slate was completed, we asked three children and four adults who were there to carve the 1996 record on the stone. I put it inside and made it a memorial. By the time the children grow up and become fathers, we writers and symposium officials may no longer be in the world. But perhaps the 1996 record will remain in their hearts forever. With that in mind, I finished stacking the last stones. After the symposium, the day before I left Yonago, I was able to have a quiet time by staying in a place overlooking the Sea of Japan. When I was sitting toward the rough sea in the evening, a houseboat about 5 meters long made by combining bamboo was rushed to me. It must have been used for some event somewhere. The next day, when I was looking at the sea at the same place early in the morning, this time the fish were jumping all over the sea as if they were flying in the sky. Two hours passed while being stunned, and when I noticed, Oyama, who had a faint purple color, clearly appeared in front of the morning sun. It was a mysterious sight. It seemed to me that I was in the world of Japanese mythology. On the way back from Yonago, I got a lot of souvenirs from the princesses. The most important of these is the Tamatebako. What exactly is inside? Urashima Taro couldn't keep his promise with Otohime and opened the Tamatebako and became a grandfather. What's wrong? It's not a lesson from Taro Urashima, but it's not a bad way to live as you grow older without opening the Tamatebako, keeping your promise with Otohime. Brooklyn winter 96 Return to photo

国内外の彫刻家を招き、1988年から2006年まで隔年で開催された米子彫刻シンポジウムで制作された36体の彫刻は、米子市文化ホールから湊山公園までの新加茂川沿いの遊歩道約3キロにわたり設置されています。米子彫刻ロードは「美しい日本の歩きたくなるみち500選」のひとつとして選ばれるほど美しく、情緒に満ちています。 [Title of work] About Yume HIROSHI HAYASHI Born in Tokyo 1955- [About the work] My work will be left as it is, as you see and feel it. I think it's best to leave it to the sensibilities of the people who see the work. However, in embodying the image of the work, I am based on the inspiration that came from the impression of Yonago City, the landscape of the installation location, and my own way of thinking about sculpture. My theme in making sculpture is "what can I do through sculpture between my child and me", which is also based on that theme this time. It would be great if the children could give their free impressions by looking at my work. [Production] 2000 Yonago Sculpture Symposium [Session] July 22nd -August 30th , 2000 [Participating in the Yonago Sculpture Symposium] I was surprised at the sudden heat at the opening ceremony, but the comfort of the breeze helped me a lot throughout the session. Being near the sea was a very special thing for me, who often plays in the mountains and rivers, and it was also a luxury time. The water in Nakaumi didn't look very clean, but I never got tired of looking into the water every day. The goby, which was still small when it came in July, had become a magnificent fried size by the time the work was installed. Also, if you go a little further, you can enjoy the beautiful Sea of Japan, delicious seafood and sea play with your family who came during the session. I was able to climb Oyama after the installation was completed. It was a mountain with a height of about 1700 meters, but when I climbed it, it was quite steep, and I, who was supposed to be a good leg, was a little stubborn. As I walked along the mountain trail, watching the rattling and collapsing valleys, I noticed that there were many young local families. Light mountaineering and hiking are also popular in Tokyo, but most of them were middle-aged and elderly and felt the aging of the mountaineering population, but this time Oyama is said to be because families with small children are happily climbing. It's not that, but I felt very happy when I greeted the passing children and Konnichiha. I thoroughly enjoyed the sea and mountains, but unfortunately I couldn't play in the river. I couldn't go to my favorite mountain stream fishing, but I will save it for the fun when I come next time. Even though it is a big city like Yonago, there is a lot of nature around it and I felt that it was a really well-balanced town. Among the impressions of Yonago that I had, such as many beautiful women, no trash on the road, and no Seven-Eleven, I liked the good distance between the city and nature. I didn't mean to just play around, but my honest impression is that it was a fun summer. The three seniors I worked with were all good people, and thanks to the staff who responded wonderfully to the selfish writers and, above all, the volunteers who took care of me, I had this impression. I think. Thank you so much. Return to photo

国内外の彫刻家を招き、1988年から2006年まで隔年で開催された米子彫刻シンポジウムで制作された36体の彫刻は、米子市文化ホールから湊山公園までの新加茂川沿いの遊歩道約3キロにわたり設置されています。米子彫刻ロードは「美しい日本の歩きたくなるみち500選」のひとつとして選ばれるほど美しく、情緒に満ちています。 [Title of work] ⑭ seashore Festival TSUYOSHI TANAKA Born in Miyazaki prefecture 1951- [About the work] When spring comes, the rocky shore seems to be spring, and people can see the seaside creatures coming out and playing. This work is also a work that wants to express the interaction between people who want to do it at festivals and things that symbolize seaside creatures (similar to jellyfish), if it feels peaceful. I think. [Production] '94 Yonago Sculpture Symposium [Session] July 16 -August 28 , 1994 [After the '94 Yonago Sculpture Symposium] From Okayama, I took a train, talked about the drunken people and the natural environment, was struck by the appearance of Oyama, and got off at Yonago for the first time. After staying overnight, having a meeting, seeing the stones, and feeling on the return train, I thought I could do a good job. To be honest, I was tired for the first ten days. A word of "hot!" Even though I was born in a tropical country, I answered. Record heat, record tiredness for me, but work went smoothly, and it was the first Chinese stone I was dealing with. I think that this attempt using the was achieved to some extent. During the period, it was a quarry of Kimachi stone, Izumo Taisha, Mihonoseki, Mizuki Shigeru Road, and a day trip, but it was a learning experience. Also, when I was bathing in the 7th class, I was stabbed by a jellyfish, and I wondered if I was happy or angry with the jellyfish I made, but the water and clear scenery were good, and the sashimi It was good. It was a day to relieve my tiredness. I think that the last forum was also the most fruitful forum I had, as I could hear various opinions about the relationship between city planning and sculpture. Yonago also hopes that a comfortable town will be created in which people and the cityscape are in harmony with nature. It was a series of hot -----, but it was a good summer for watermelons. Also, I want to eat that watermelon. Thank you to everyone in Yonago. Return to photo

国内外の彫刻家を招き、1988年から2006年まで隔年で開催された米子彫刻シンポジウムで制作された36体の彫刻は、米子市文化ホールから湊山公園までの新加茂川沿いの遊歩道約3キロにわたり設置されています。米子彫刻ロードは「美しい日本の歩きたくなるみち500選」のひとつとして選ばれるほど美しく、情緒に満ちています。 [Title of work] ⑦ Fossil town NO.3 Masaru Ida (KATSUMI IDA) Born in Tottori prefecture 1956- [About the work] Fossil City NO.3 ... Egg 2 considers personal involvement with the city by incorporating one completed shape like a boat, or a form like the ruins of the city in one universe. I wanted to express a space that would make me feel. Therefore, it seems that this work will have different feelings and perspectives depending on the viewer, and I would like it to be the same as the work. [Production] '90 Yonago Sculpture Symposium [Session] July 29-August 31, 1990 [Participating in the '90 Yonago Sculpture Symposium] Various forms of sculpture symposiums were held nationwide this summer, but there is no other symposium like Yonago that is truly a volunteer spirit of the private sector. At least as far as I know, it seems to be only Yonago. This is, on the one hand, very pure and an ideal form. On the other hand, I think there is also the weakness of being a volunteer. In other words, from the management point of view, the responsibility tends to be ambiguous, and I think that the wrinkles tend to be apt to be given to a specific individual. Every time I saw the people who suffered from those wrinkles struggling while making the work, I, who is from the local area, had to feel very complicated. Also, as a writer, the 35-day production period was a little short, and it seemed to be one of the shortest examples of a current symposium, and it was physically and mentally painful. However, since the beginning of August, there was a person who worked as a helper for the writer, which was a great help. I would like to thank the people who washed their work clothes every day without complaining, the people who prepared the fund-raising activities and equipment, the people who continued to take pictures, and the people who cooperated in various insertions. think. Then, on the final day of the symposium, I was impressed by the fact that the secretary-general was crying in his eyes, probably because of the joy of completing the work. Finally, when each artist went home, I had the people involved in the symposium see me off, and I was deeply moved. Some writers said that they couldn't get out of the car because they were about to tear, but I think they all left Yonago with the same feelings. As the theme of this time, "Encounter Fureai," I am full of gratitude for being able to complete the sculpture through the encounters between volunteers and the artist and the emotional contact. Thank you very much. Return to photo

国内外の彫刻家を招き、1988年から2006年まで隔年で開催された米子彫刻シンポジウムで制作された36体の彫刻は、米子市文化ホールから湊山公園までの新加茂川沿いの遊歩道約3キロにわたり設置されています。米子彫刻ロードは「美しい日本の歩きたくなるみち500選」のひとつとして選ばれるほど美しく、情緒に満ちています。 Around Yonago City Cultural Hall * Click to see the work information and the state at the time of production.

国内外の彫刻家を招き、1988年から2006年まで隔年で開催された米子彫刻シンポジウムで制作された36体の彫刻は、米子市文化ホールから湊山公園までの新加茂川沿いの遊歩道約3キロにわたり設置されています。米子彫刻ロードは「美しい日本の歩きたくなるみち500選」のひとつとして選ばれるほど美しく、情緒に満ちています。 [Title of work] ③ Hippotamus NOBUYUKI AKECHI Born in Tokyo 1963- [About the work] I made a hippo sculpture in front of Yonago station with a basalt called Yakumo Chokuroishi from Shimane prefecture next door. The yellow part on the surface of the stone is the same expression as it was dug out of the soil. While making the best use of the shape of the rough stone, I expressed a hippo watching everyone's way back and forth in front of Yonago station. The water place where the hippo lives prospers abundantly, and it seems that various creatures gather. We hope that this "hippo" will become a new meeting place for Yonago and will be a guide for Yonago, a "town with sculptures." [Production] 2006 Yonago Sculpture Symposium [Session] July 15 -August 26 , 2006 [Message from the writer] 3/16: For a symposium meeting, head to the meeting place while watching the sculpture road with Yonago on the sleeper limited express Sanrai cloud. 3/17: On the way back, I got on the last train of "Izumo" (an orange diesel car pulls the blue train) (pride) 4/28: I went to Yonago again to see the basalt in Shimane prefecture that I had been looking for to make a "hippo". I made a model of a hippo to match the stone. 7/14: Arrived at Yonago with a lot of luggage in the car 7/15: The opening ceremony is sunny and reminded that "the game is in July" 7/16: Record heavy rain for about a week from this day 8/1: It's August, so when I was thinking "Is the game until yesterday?" 8 / 4-6: Fureai Sculpture Class Everyone did their best with Mr. Chikada, the previous participating artist, as the main instructor. In the sculpture class, I tried to keep my hands out as much as possible, but in the last 30 minutes I carved it completely. "Kevin-kun" I'm sorry. Kevin carved the back of his head with the nickname of the head statue. 8/21: There were various things, but since the "hippo" was the best glue and the truck in front of Yonago station could not enter, everyone pushed and moved using the "coro", and the hippo proceeded with the sled in front of the Yonago station. .. 8/25: Citizen's Forum Many people came from far away. 8/26: Closing Ceremony For the first time, you can see the work that perfected the scenery. 8/27: When I was taking a picture with a sword, I was asked "Which Wagyu is this?" Umm?. It has been said for a long time that "the symposium is until I get home," but it was August 30th if I had made various detours. And now, I'm writing this with the feeling of an elementary school student collecting homework for the summer vacation. Thank you for participating in the 10th Yonago Sculpture Symposium. I think I had various encounters every time, but I am grateful that I participated this time and had many encounters unique to this time. The place I could put it, the work, the stones I met, and the many people I met were the best. I just got to know Yonago for the first time this time. We look forward to your continued support with the sculptures. Return to photo

国内外の彫刻家を招き、1988年から2006年まで隔年で開催された米子彫刻シンポジウムで制作された36体の彫刻は、米子市文化ホールから湊山公園までの新加茂川沿いの遊歩道約3キロにわたり設置されています。米子彫刻ロードは「美しい日本の歩きたくなるみち500選」のひとつとして選ばれるほど美しく、情緒に満ちています。 Around Yonago Station / Western General Office * Click to see the work information and the state at the time of production. Out of gallery

国内外の彫刻家を招き、1988年から2006年まで隔年で開催された米子彫刻シンポジウムで制作された36体の彫刻は、米子市文化ホールから湊山公園までの新加茂川沿いの遊歩道約3キロにわたり設置されています。米子彫刻ロードは「美しい日本の歩きたくなるみち500選」のひとつとして選ばれるほど美しく、情緒に満ちています。 Around Yonago Station / Western General Office * Click to see the work information and the state at the time of production.

国内外の彫刻家を招き、1988年から2006年まで隔年で開催された米子彫刻シンポジウムで制作された36体の彫刻は、米子市文化ホールから湊山公園までの新加茂川沿いの遊歩道約3キロにわたり設置されています。米子彫刻ロードは「美しい日本の歩きたくなるみち500選」のひとつとして選ばれるほど美しく、情緒に満ちています。 [Title of work] ㉓ Crust-COCOON.Ⅲ ATSUO OKAMOTO Born in Hiroshima 1951- [About the work] I've always been thinking about the sea these days. The spirit is endlessly sucked into the swell of the tide, which contains countless lives and memories of life. I keep thinking of waking up in the warm amniotic fluid of the planet Earth. Recently, the shape of the stone I am trying to make has a strong admiration for the sea, and I continue to want to bring out the life-threatening shell-like shape and the eros accumulated in the crust. It's also my own cocoon. [Production] '98 Yonago Sculpture Symposium [Session] July 18th -August 30th , 1996 [Photo of Yonago Sculpture Symposium] I have just begun to organize the photos that had been piled up in the left corner of the desk for a month and a half. This is a picture I took with Yonago this summer. It's fun to shoot with the camera in one hand, but the post-processing is actually difficult. If I'm serious about shooting and it's the adults who take responsibility until the end, I'll never be a kid. I can't become a professional adult forever because I can easily solve the problem because I am a sculptor. Aside from the digression, I will check the stacked photo bags one by one. Oh, suddenly Mr. Oi laughed and came off the screen. This is a picture of Mr. Motoike's dinner party. The bigger the subject, the bigger the picture. Mr. Hirai stands under the tent with a bowl and a bowl lifted. A wife wearing a yukata stands on the side in the same dress, and the people around her are laughing and clapping their hands. This is called the ultimate rattan phenomenon at the Yonago Sculpture Symposium, but it is actually singing the procession of the saints. Mr. Yamada is similar to Chaplin. No, Andy Warhol, who is actually the same person as Jean-Francois Dumur, is seen by Hanako as a yukata. This is a picture of when I went to Mr. Suzuki's house. Jesse and the author wrap a towel around their heads under the tent and sip spaghetti. They are tall, good guys, innocent, well-eaten, well-worked and promising young assistants. Tomomatsu-san's Bermuda shorts, T-shirt, and baseball cap on the claws are an eternal naughty boy. Mr. Funakoshi is a person like a baseball umpire, and you can understand what he is saying just by looking at the pictures. Mr. Ida is tight and Mr. Adachi is very gentle. Mr. Motoike, who doesn't look like me, Mr. Fujita, who is always serious, Mr. Ima, who doesn't appear on his face when he drinks but is happy to see it in action, and Ida, whose head ratio is emphasized. Mr., Mr. Shy Yanaka, Mr. Iwasaka who is always quiet, Mr. Omori who aims to be a camera adult, everyone is in the picture. If you check it in this way, there are few photographs that are working on the sculpture that should be the main one. I didn't spend a month and a half seriously, and I was absorbed in sculpture during the day, so I didn't even think about taking pictures. This fact faithfully tells how seriously he took his work during the symposium. At the end of the arrangement of the photos, a commemorative photo taken together in front of the installed work came out. Everyone has a nice face and everyone gently inputs to my heart's album. The pile of photos on the left edge of the desk moved to the right edge of the desk and became a mountain again. Return to photo