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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] 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] ⑥ Cosmos Ryota Mori (RYOTA MORI) Born in Gunma prefecture 1952-1993 [About the work] The work is composed of round shapes. Maru is one of my favorite shapes. In nature, round shapes can be seen as suns, moons, water droplets, and even plants and animals as stem shapes and eyes. The work looks abstract, but if the circle also exists in nature, it can be called a concrete sculpture. Please enjoy the movement from various angles. Also, I polish it well so that the city of Yonago can be seen. I hope this work will catalyze the image of the citizens. [Production] '90 Yonago Sculpture Symposium [Session] July 29-August 31, 1990 [Participating in the '90 Yonago Sculpture Symposium] In Yonago's Shiroyama One day near the end of the symposium, I climbed Shiroyama, which was always in front of me. It's a mountain that looks like a small hill, but as I climbed the stone steps, I sweated from my body. Record heat continued every day this summer. Everyone was talking about taking a break from production when it rained, but due to this weather, I ended up heading to the production site every day. That's why I took a shower of UV rays instead of rain and got inflamed, so I took a rest under the roof of the site office for a day in a UV shelter instead of rain shelter. Except for the typhoon past the Bon Festival, it was produced in the midsummer sun, and it was probably the first experience for me to go out so much. Shiroyama didn't seem high to the eye, but when I climbed it, it responded to my feet. As I proceeded while wiping my sweat, I saw a stone wall. The masonry is precise and beautiful, and the enthusiasm of the masons at that time is conveyed. Unfortunately, the castle itself has not stopped its shape because it was destroyed in the early Meiji era, but the appearance of the stone wall reminds us of its appearance. When I stood on the ruins of a castle covered with summer grass, my view suddenly opened. Oyama rises to the right. It's a mountain with a very pure name. If you follow the gentle base, you will see the Sea of Japan. If you move your gaze to the left along the horizon, you will see Mihonoseki at the tip. From there, Yumigahama draws a smooth curve so that it sticks to the surface of the sea. Nature is soft. And, embraced by the father and mother of the nature, there is a town of Yonago under my eyes. The cityscape is spacious and open, probably because there aren't many tall buildings. The city always feels like breathing with nature. The sky feels very wide. The blue tent of the symposium was swaying in Minatoyama Park at my feet. I went down the mountain feeling happy that I could make a work in this town. 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] ① Myth of the sun and the moon HIDEKI FUJITA Born in Tottori prefecture 1967- [About the work] Yonago is a small town, but I had the impression that it was a relaxing time. Compared to the masculine and harsh climate of Shinshu, where I currently live, the scenery of the wide sky, the Sea of Japan, and the towering mountains of Oyama gives me a feeling of a broad motherhood that gently envelops everything that lives there. .. You may feel that because it is the land that is the origin of yourself as a pasture. I wanted to make a sculpture centered on a female image as a shape that symbolizes the city of Yonago. The sun and moon in the background represent the daily activities of the people who live there. The title of the work is "Myth of the Sun and the Moon", but there is a special story and it is not such a work. Through this work, I hope that you will feel the story in the lives of each person who has faced the work. What I can clearly see in this work is a story made in the hot summer sun with many people involved during the symposium, and after daily production, talking in the dusk. It is a story that has been spun. I hope that the various events of one summer will be recollected through this work as a memory of everyone and a story of a sculpture symposium under the sun and the moon. [Production] 2006 Yonago Sculpture Symposium [Session] July 15 -August 26 , 2006 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] ㉝ Shape of water-conversation HIDETOSHI TAKAHAMA Born in Kumamoto prefecture 1957- [About the work] Yonago's water is delicious. The theme of this work is water, which is indispensable to our lives. Life lives in the water. I think that dams and reclamation projects are issues that must be seriously reconsidered. The death of a river is like stopping the lubricious flow of blood in the human body. We humans are part of the ecosystem and should be one with nature. I think of the earth as a living organism. Therefore, it can be said that all substances on the earth have life. A profit-oriented society produces discrimination, conflict and waste, and the destruction of nature is progressing day by day. I think that if we change our mindset a little and have more love for nature, we can improve the environment. What we have to do over time will be to leave behind the legacy of a beautiful natural environment. I'm working on this concept, but I want to respect individual sensibilities. What is important is the image power of the people who appreciate the work. Each person should feel differently. Therefore, I really want you to think that the explanation of this work is just a garnish. [Production] 2002 Yonago Sculpture Symposium [Session] July 13th -August 25th , 2002 [Participating in the Yonago Sculpture Symposium] On the day of the closing ceremony, there were many faces of familiar people there. It was an illusion of people who had known for a long time, and the 40-day long and short symposium was over. I am very happy to be able to safely set up a work that is a collection of various thoughts, while feeling refreshed away from everyday life and leaving a little regret. I personally worked on the work directly, but it is a fact that the intentions of many people were reflected in the work without knowing it. A work is a medium that connects people and cannot exist alone. It is made up of the support of people. Behind the scenes are the backup systems of the government offices and volunteers who provided generous hospitality day and night. I was blessed with other participating artists. I think they did a great job. Of course I am, but most importantly, I've tried to maintain a balanced and balanced condition. If you're too nervous, it won't last long, and if you're too nervous, your work won't progress. I think I was able to digest this point well. And best of all, there were no major accidents or injuries during the production. It seems that there was a day when alcohol disinfection was too effective at the symposium at night, but everyone was in good physical condition and seemed to be absorbed in the production. Fortunately, my accommodation was near the neon district of Asahi-cho, and as a matter of course, I was infested every night, wandering around, enjoying delicious sake and side dishes, and replenishing nutrition. Another real pleasure of the trip was when the work was almost completed, and I was able to enjoy the sights and hot springs here and there. I had been trying to enjoy this symposium from the beginning, so I think I was able to achieve that purpose perfectly. In terms of work production, the work proceeded comfortably, and many events awaited to fill the gap, which was also a fresh stimulus. I have received a lot of inspiration from this trip, and the accumulation of it has inspired new production motivations. The last impression I had of Yonago was that it was a town that coexisted with wonderful nature, and that it was a town where culture permeated. The morning after the closing ceremony, I stayed and stood in front of my work. A person on the way to the walk came and said, "Yonago's citizens value only culture but are not aggressive." I answered. "That's enough." I would like Yonago to continue to preserve the old streets, untouched nature, and unique culture. Also, I can't forget the gentle faces of the people I saw 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] ㉑ Yumejiri HIROSHI YABUNOUCHI Born in Kyoto 1943- [About the work] Some of the sculptures installed in the city speak by themselves and try to make the citizens understand their beauty, while others sit, lie down, hug and kiss in close contact with people, and the sculptures and people When it comes to scenery, I decided to set up a work that would bring life to life. The round, soft and cute eroticism-filled form of the butt-like shape expresses the dream space of the city lying on the bed. [Production] '98 Yonago Sculpture Symposium [Session] July 18th -August 30th , 1996 [After the '98 Yonago Sculpture Symposium] When I received a letter requesting participation in the Yonago Sculpture Symposium, I replied, "I am happy to participate." I have visited Yonago City three times in the past to exhibit my work at the Yonago City Museum of Art, but each time my friends from the local members visited the museum, Kaike Onsen, Sakaiminato, Adachi Museum of Art, Asahimachi. It was one of the cities I would like to visit again, touching on the kindness and warmth of the city. At the time of the local preview last fall, we had a discussion with four artists, and this time we decided to share a common theme. The work that blends into the landscape does not reject people, but interacts with people, and people can sit, lie down, hug, and experience the warmth of stones. I decided to set up a work that would be integrated with. The Yumejiri-zu (Yume series) produced this time is a work that has been carving the buttocks with stones for 30 years. The Kamo River, where it is installed, is also located in Kyoto, and although the scenery, water quality, and flow are different, I felt it was very close to me. In such a scene, the beds and pillows that should be in the room and the round, plump and smooth buttocks are placed on the side of the road. It is a sculpture of a scene that reproduces the scenery of Kyoto's home in Yonago. Looking back on the 45 days of production under the scorching sun, I feel like "45 days in Yonago in the midst of youth." Every day I was taught, eating, drinking, laughing, laughing, talking, exchanging opinions, talking, exchanging opinions, aiming only for perfection, just shaking fleas, polishing stones, and just like being away from the world without digging into my face. Not only was I blessed with good writers, staff, assistants, executive committee members, and volunteers, but I was also exposed to the humanity of the local people, and such a fun symposium was a lifelong treasure for me. I heard that the Yonago Sculpture Symposium is a new basic plan based on a long-term perspective of the public and private sectors as part of the city's city planning, and aims to aim for a sculpture road that connects the Kamogawa Green Park promenade to the sea as a cultural project. We are here. However, there may be cases where the sculptures are set up under administrative guidance. If you hold a sculpture symposium and set up only the works, you can smell the culture and that's fine. I would like to ask the executive committee members and the government to discuss well and create the most important place that is loved by the citizens and the environment that the citizens can be proud of. I have formed a group called Kyoto Art Council with my friends, and with the slogan of human gusset art, I am working to protect and further develop Kyoto with the theme of "creating a bright city with art". That's because everyone loves Kyoto. Now, I can see the faces of each person I met in Yonago. I love YONAGO Fall 1998 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] ⑫ Life '92 RYO SAKAI Born in Nagano prefecture 1950- [About the work] I started sculpting because I was interested in living things, especially humans. I'm more interested in images such as "twist", "elongation", and "pressure" that start with applying force, rather than superficial unevenness. I'm trying to confirm its existence. [Production] '92 Yonago Sculpture Symposium [Session] July 19 -August 27 , 1992 [Participating in the '92 Yonago Sculpture Symposium] Miscellaneous feelings It's been a month since the symposium was over, but I'm still so full and tired that I can't put it into words. It was my first time to visit Yonago, so I wanted to enjoy the Sanin climate to some extent, but I was chased by the round trip between the inn and the venue without fail for a day, and on the final day I was only for my own production. I thought that I came to Yonago. It seems that it was hot everywhere this summer, but the heat of Yonago has come. On the second day of production, I started to have blister on my arm, and I was in a hurry to wear long sleeves. The work is delicate. From the perspective of a third party, you may think that the work is only for the artist, but the work never reflects only the artist who created it. The work at the symposium will meet various people, especially during the production period, and will be created through the interaction with those people, so if there is no encounter with those people, the work will never exist. In particular, my work is to work while talking to stones, so the shape of the work changes steadily depending on the environment at that time. "Nama LIFE 92" is a form that was made possible because I met many people at the symposium and received help. We would like to thank all of you who have worked hard toward the common goal of installing sculptures in front of the Cultural Hall, although they are in different positions. I couldn't do any sightseeing trips, but I think I received more joy and gifts. The last day was probably sentimental, and thank you to the inn's aunt who took the trouble to see me off even though I left the inn in the middle of the night because of my selfishness to go home while looking at the starry sky. It was a symposium that was supported by people's feelings until the end. 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] ㉒ Gravitation HIDEKI OHI Born in Yamaguchi Prefecture 1960- [About the work] It is a work that aims not to make you feel the "weight" of stone for a moment. I hope that various images can be created by placing two stones in pairs. [Production] '98 Yonago Sculpture Symposium [Session] July 18th -August 30th , 1996 [After the '98 Yonago Sculpture Symposium] Gravitation means gravity. "The moment the foal stands up immediately after birth, the appearance of plants germinating and growing from the ground, and the" energy to life "common to many archaeological sites built by humankind. The force that opposes gravity. Reconstruct the power that is inherent in each of them, and express it as a form that is rooted in the earth. " I have continued to produce with the above concept. This time, the work produced by Yonago is a work that aims to face the gravity and not to make you feel the gravity. It's a moment when a stone rooted in the ground seems to forget its weight and rise. Two works made of natural stones were set up in a position where they attracted each other, and the same stones were placed around them to express them as one place. I hope that you can feel the energy even when the citizens take a walk. The 44 days in Yonago have been the most exciting days I will never forget. Every event and every encounter was fun and meaningful as if it had been organized by someone from the beginning. We would like to thank all the people involved in the symposium, including the Yonago Sculpture Symposium Secretariat. Last but not least, I would like to thank Jesse Souzbury, Hideo Motoike, and the creator of Motoike for their great cooperation in the production of my work. Thank you from the bottom of my heart. October 1998 in Barcelona 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] ⑱ OFFERING Robert SINDORF Born in the Netherlands 1951- [About the work] The word "offering" means the act of offering, as well as the spiritual world, God, or the universe. It also includes the mysterious communication given to unknown reality. This is my personal offering as a positive element of my life and a gesture of goodwill between America and Japan. The image is based on a circle. The circle is a perfect harmony, it has no beginning or end. It is a symbol of the sun, heaven, perfection, and the cycle of life, a peaceful image. Part of this circle is like a person's arm extending towards the sky. It hugs the universe and dedicates itself to the sky. The stones that are part of the earth are eternal. And the offering is also eternal. [Production] '96 Yonago Sculpture Symposium [Session] July 13 -August 25 , 1996 [After the '96 Yonago Sculpture Symposium] I learned about this symposium three years ago when I attended the "Iwate International Symposium" and met Mr. Ida. As a sculptor and architect, his work was very interesting because it reminded me of the ancient cities I had seen in South America and Africa before. After that, while looking at the catalog of Yonago's symposium that I received from him, I also wanted to participate. Fortunately, I was invited to this year's symposium, and I was able to meet Mr. Ida again, and made a visit to the strange land "Tottori Prefecture", which was only mentioned in my guidebook. Even better, I realized my desire to use locally produced basalt, which Isamu Guchi used effectively. It was a lot of fun during the production period in Yonago. The production venue is in a wonderful location, and thanks to the breeze from Nakaumi, I was able to work under the scorching sun. I didn't expect to continue working every day without resting so much, but other sculptors seemed to enjoy it too. It is often a social time from the evening, and Mr. Funakoshi, Mr. Matsumoto, and Mr. Adachi tried to have a good time, and I was able to fully enjoy these 6 weeks with everyone. I myself was pondering the idea of stones and works. I also received advice from other sculptors, including Mr. Ida and Mr. Motoike, regarding the undecided details. Many people "participated" in my work. This is what the symposium should be. Sculptors often work alone, but it was also meaningful to receive comments from other sculptors and visitors who visited the production venue one after another. This is the most wonderful gift I received in Yonago. If I could "dedicate" my feelings to Yonago through my work "offering", I wouldn't be more than happy. At the party, I felt a strong connection with Yonago. I am especially grateful to Mr. Tomomatsu for his friendship. I would like to come back to Yonago someday. 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] ⑧ Summer / Wind Poetry HIROSHI SUDO Born in Kochi prefecture 1948-2015 [About the work] On a hot summer day, the boy stopped playing in the wind swaying the green leaves and watched the deep blue shining sky and the slowly flowing white clouds. The sweat on my forehead shone again and fell off. The red circular stone formed the boy's summer memories as the sun and summer, the red stone crossed the wind ... [Production] '90 Yonago Sculpture Symposium [Session] July 29-August 31, 1990 [Participating in the '90 Yonago Sculpture Symposium] The taste of Yonago and Asahimachi It was July 28th that I arrived at the blue sky and green carp Yonago, which is just called Sanin. I was prepared, but in front of my rough stone, which is close to 6 tons, the dream of sightseeing in Tottori was about to disappear, but if human beings were in need, there was a time of night. .. The symposium has passed for a week, the stones have changed a little, and the symposium (sake banquet) of the two parts of the writers has disappeared. Then I came up with a night sightseeing. The place where three or two men look good is Asahimachi. When I noticed, I became a person in Asahi-cho on the 4th or 3rd. With each drink of water, the hard feelings of the daytime and the trouble of stone powder will be solved and flowed. Also, the accounting is conscientious, and my bosom is grateful. Mama-san, the boss who stopped by once every time. Thank you for taking care of me for a month. In addition, the landlady of Kintei was very welcome and made good memories of Yonago. It seems that the water that I used to drink wasn't special mineral water at any of the stores, but it tastes pretty good and the living water is good. In terms of taste, I was a little inexperienced and unsatisfied with being able to become "warigo soba" and "zaru soba" in the Kanto region. Yoneko Ryuishi was not defeated by my Tosa countryside. It wasn't winter, and I wanted to do my homework with crabs, find time, and go on a sightseeing trip in winter. 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] ① Myth of the sun and the moon HIDEKI FUJITA Born in Tottori prefecture 1967- [About the work] Yonago is a small town, but I had the impression that it was a relaxing time. Compared to the masculine and harsh climate of Shinshu, where I currently live, the scenery of the wide sky, the Sea of Japan, and the towering mountains of Oyama gives me a feeling of a broad motherhood that gently envelops everything that lives there. .. You may feel that because it is the land that is the origin of yourself as a pasture. I wanted to make a sculpture centered on a female image as a shape that symbolizes the city of Yonago. The sun and moon in the background represent the daily activities of the people who live there. The title of the work is "Myth of the Sun and the Moon", but there is a special story and it is not such a work. Through this work, I hope that you will feel the story in the lives of each person who has faced the work. What I can clearly see in this work is a story made in the hot summer sun with many people involved during the symposium, and after daily production, talking in the dusk. It is a story that has been spun. I hope that the various events of one summer will be recollected through this work as a memory of everyone and a story of a sculpture symposium under the sun and the moon. [Production] 2006 Yonago Sculpture Symposium [Session] July 15 -August 26 , 2006 [Message from the writer] The other day, I returned to Yonago for the first time in a month. After the symposium, I left Yonago in a hurry, so I couldn't take a proper photo of the work. After the sculpture was installed, the height of the surrounding lawn was changed, so the work I saw for the first time in a while looked somewhat fresh. By the way, when I saw it just before I left Yonago, I was hit by a bird droppings even though I had just installed it. There may be nothing I can do about this, but I was a little disappointed. However, the work I saw that day was in a very beautiful state. I was a little relieved that the dirt had been removed by the rain, and when I tried to take a few pictures, I happened to meet Mr. Taniguchi of the Western General Office. In the chat, I learned that he was cleaning the work from time to time, and I was happy that the warm consideration at the time of the symposium seemed to continue. After the symposium, it was a huge amount of school work that was waiting for me to return to Nagano. Naturally, I was away for a month and a half, but for a while I couldn't afford to immerse myself in the lingering sound of the symposium, and the time passed in no time. I wondered if that summer day of this year really happened, and I was caught in the illusion that it was a dream. At that point, Yonago sent me a request for this text, along with materials such as newspaper articles, and I had time to recollect this summer. A fulfilling time to think only about production every day. It was a dream time for me. A few days after the opening ceremony, heavy rain at the end of the rainy season. The symposium was hot and high, so I rushed to procure a windbreaker and long sleeves. Mr. Iwanaga, an assistant who came with the rain. He was often called "Ameo". Around this time, I could still laugh and listen to the words, "The game is in July." When the sculpture class was over in August, the time passed as quickly as I was told. The freshness of the material "stone" that you will know again. The planned installation date and the end of the symposium are gradually approaching. Fighting with stones. This job probably couldn't be done by myself. I was really taken care of by my assistant, Mr. Iwanaga. Mr. Iwama, Mr. Akechi, Mr. Sazen, as the deadline for installation was approaching, he encouraged me to become bearish and supported me in various situations. Above all, volunteers who come every day. People from the Tottori Prefecture Western General Office. The encouragement of many people who support this symposium has been a great help. On the day of installation, when I tried to lift the work, suddenly the clouds became suspicious. downpour. The installation was completed successfully, but after that, Iwanaga-kun was given the title of "Ameo" who was responsible. Tears shed at the closing ceremony. The person I met in Yonago this summer. Thank you very much. Return to photo