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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] ⑰ '96 work in YONAGO HIDEO TOSAKA Born in Tokyo 1948- [About the work] The stones used in the symposium produced locally were awakened from a long sleep and brought to the surface. The mud-covered megaliths make me feel the climate of this region just by their existence and are beautiful. The landscape with the river at the installation location has a private house on the opposite bank, a mountain with the Nakaumi in the background, and it overlaps with the mountain of the castle ruins, and the valley makes you feel the infinite expanse following the Sea of Japan. After the installation, the purpose of this symposium is to encourage the viewer to accumulate the memory of the landscape and to include the memory in the stone itself. I hope that the stones will begin to breathe with Yonago's life time, and that people will be ticking with the stones. 96 work in YONAGO himself ticked the time for 45 days in Yonago. [Production] '96 Yonago Sculpture Symposium [Session] July 13 -August 25 , 1996 [After the '96 Yonago Sculpture Symposium] [April preview meeting] Yonago visited for the first time. In discussions with the executive committee members and planning committee members, we asked them to guide us to the production site and installation location, and in the discussions with the executive committee members and planning committee members, we had a vague and fantastic culture, and a large scale, beautiful stone with a strong presence, texture, etc. There was an encounter with the committee stone that gave me a strong impression of color. [Image planning] How can we incorporate the situation of the installation location, the scenery and the people of Yonago into that beautiful stone (work) with a strong presence? An attempt to fuse Yonago, which has a long history in the past, with Yonago, which is transformed by city planning, with a timeline. I want to create a point of contact between the time of life and the accumulation of memory for self-formation. The concept of symposium production becomes transparent. [Work planning] Architectural basic scale 1m, basic volume 1m. Create a strict space of 1m at the point of contact of the three stones, and make it an experiential space that strikes a wedge to the time axis of self-formation. For the main body stone, which is the core, open a window to breathe between this bank and the equinoctial week (or the past and the future) in consideration of the installation along the river. The stone (work) contains a new fragment of history in the memory of the existence of the self that is seen from the window. People and works (stones) are constantly changing and interacting with each other in a diverse manner. The stone that just came out of the ground and woke up from sleep is dignified and majestic. It will not lose its appearance, and it will blow up its breath, blow in the existing wind, and wrap up the history of people and build it! [Open production for 45 days] Embracing the above-mentioned concession, interacting with many people and having a lot of fun, continue production day and night. Initially, a strict 1m space was assumed, but it changed to a fluid and lively space in the relationship with people. As a result of many help crystals, a big stone was safely erected in Yonago, and a stone was also erected in my heart, and I was able to receive many acquaintances and the energy of the great Yonago. Now I am very refreshing and full of blue sky. Thank you very much. We would like to thank all the people who helped and cooperated in various ways for 45 days, and the friends who worked together and talked about their suffering. We would also like to express our sincere gratitude to all of Yonago for giving us such a wonderful opportunity and encounter. gradually. 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] ⑬ Scenery with a bridge KENJI TOMITA Born in Shimane Prefecture 1947- [About the work] Humans have expanded their living sphere endlessly by the way. There, he encounters various obstacles, and once he is hindered and stands up, he eventually tries to overcome them. The bridge seems to be a concrete expression of the power of human will to overcome obstacles. There are now numerous bridges in the natural and urban landscapes, not only over the waters of rivers, lakes and straits on the extension of the road, but also vertically and horizontally above towns and villages, like railroads and highways. I will go beyond it endlessly. The bridge was more than just a means of overcoming obstacles, it must have had special implications such as wonders, longing, and friendship with the neighboring living area and cultural area that we haven't seen yet! [Production] '94 Yonago Sculpture Symposium [Session] July 16 -August 28 , 1994 [After the '94 Yonago Sculpture Symposium] Even though it has become very difficult to carve stones in the city, the eaves of Shiroyama will be released for seven years for the production of masons. Where does that laid back come from? It's been a summer, 45 days, and I've been wondering. In the midst of the heat and drought, as well as the tragic news of water shortages from all over the country, the people of Yonago have a calm, no-confident look. Where does that space come from? The magnificent terrain that swept away the white sand will surely bring abundant water sources and fill the life with moisture. I remember thinking that if the water was cut off, I would draw the water from Nakaumi into a bucket and use it to polish the stones. It seems that it wasn't so long ago that various livelihoods were created in the hands of people, and materials and tools were overflowing on the roadside. The children were strangely excited about the process of completion, and embraced wonder and envy, and fled to the unknown world. The four sculpture symposiums not only put a stone in the redevelopment project, which tends to be carried out in a hurry, but they must have an impact on various fields in the future. All the materials, such as wood, paper, iron, sand, and thread, which have been soaked in abundant water and produced along with the town's appearance, are also waiting for the opportunity to "encounter and interact". I think the sowed seeds will germinate and bloom because of the fertile soil. It was the first long stay in 30 years for me, who grew up in Yasugi City, which is next to the station. Thank you very much for the warm and friendly welcome of the town of Yonago, which I had passed by when I returned home. The ridgeline of the shore, which weaves between the sea and the land, lives on forever in my drawing book. 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。 What is Yonago Sculpture Road? Yonago Sculpture Symposium 19 Years of History and "Yonago, a City with Sculptures" In 1988, the Yonago Sculpture Symposium was held for the first time in the San'in region under the initiative of a private sector, which is rare in Japan. After that, sculptors from Japan and abroad were invited to the Yonago Sculpture Symposium, which was held every other year until 2006. It was a novel event that took more than a month to show the production process. The 36 sculptures produced during this period are installed along the promenade along the Shin-Kamo River for about 3 kilometers from Yonago City Cultural Hall to Minatoyama Park. If you take a walk while looking at and touching each sculpture, you will be in Minatoyama Park in no time. If you turn back the course and walk again, the sculptures show different expressions depending on the viewing angle. The course from Sculpture Road to Yonago Shitamachi along the Kamo River is so beautiful and full of emotion that it has been selected as one of the 500 Beautiful Roads in Japan Walk. Yonago Sculpture Symposium Trajectory 1988 88'Yonago Sculpture Symposium (1st) Date: July 19th-August 31st, 1988 Meeting place: Minatoyama Park, Yonago City (near the boathouse) Production theme: "Wind and waves" Author: Yoichi Shimizu / Ichiro Shintani / Shintaro Nakaoka / Ryoichi Hayashi / Keiji Yamaya Installation location: Around Kaike Onsen / Around Higashiyama Park / Around Yonago City Hall 1990 90'Yonago Sculpture Symposium (2nd) Date: July 29-August 31, 1990 Meeting place: Minatoyama Park, Yonago City (near Yonago City Children's Culture Center) Production theme: "Encounter / Fureai" Author: Katsumi Ide / Toru Suzuki / Hiroshi Sudo / Ryota Mori Installation location: Around Yonago City Cultural Hall 1992 92'Yonago Sculpture Symposium (3rd) Date: July 19-August 27, 1992 Meeting place: Minatoyama Park, Yonago City (near Yonago City Children's Culture Center) Production theme: "Encounter / Fureai" Author: Ryosuke Kobayashi / Ryo Sakai / Sakae Terada / Toru Yokoyama Installation location: Around Yonago City Cultural Hall 1994 94'Yonago Sculpture Symposium (4th) Date: July 16-August 28, 1994 Meeting place: Minatoyama Park, Yonago City (near the boathouse) Production theme: "Encounter / Fureai" Author: Oda Shoreer / Takeshi Tanaka / Kenji Tomita / Yoshiharu Maekawa Installation location: Yonago Convention Center Around the Big Ship 1996 96'Yonago Sculpture Symposium (5th) Date: July 13th-August 25th, 1996 Meeting place: Minatoyama Park, Yonago City (near the boathouse) Production theme: "Encounter / Fureai" Author: Keiji Ujiie / Hideo Tosaka / Keiichiro Momose / Robert Sindorf Installation location: Around Shinkamogawa 1998 98'Yonago Sculpture Symposium (6th) Date: July 18th-August 30th, 1998 Meeting place: Minatoyama Park, Yonago City (near the boathouse) Production theme: "Encounter / Fureai" Author: Hidenori Oi / Atsushi Okamoto / Jean-Francois DEMEURE / Hiroshi Yabuuchi Installation location: Around Shinkamogawa 2000 2000 Yonago Sculpture Symposium (7th) Date: July 22nd-August 30th, 2000 Meeting place: Minatoyama Park, Yonago City (near the boathouse) Production theme: "Encounter / Fureai" Author: Tanaka et al./Yoshio Nishikawa / Hiroshi Hayashi / Shingo Murai Installation location: Shinkamogawa / Nakaumi area 2002 2002 Yonago Sculpture Symposium (8th) Date: July 13th-August 25th, 2002 Meeting place: Minatoyama Park, Yonago City (near the boathouse) Production theme: "Encounter / Fureai" Author: Hidetoshi Takahama / Fumio Nishimura / Nami Hishida / Kazuyoshi Hirai Installation location: Around Nakaumi 2004 2004 Yonago Sculpture Symposium (9th) Date: July 17-August 28, 2004 Meeting place: Parking lot in Minatoyama Park, Yonago City Production theme: "Encounter / Fureai" Author: Hiroki Chikada / Kazuko Saito / Koichi Nagano / Kazuhiko Nishimaki Installation location: Shinkamogawa / Nakaumi area 2006 2006 Yonago Sculpture Symposium (10th) Date: July 15th-August 26th, 2006 Meeting place: Parking lot in Minatoyama Park, Yonago City Production theme: "Encounter / Fureai" Author: Nobuyuki Akechi / Hiroshi Iwama / Kei Sazen / Hideki Fujita Installation location: Around Yonago Station

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] ⑪ Precipitation of light RYOSUKE KOBAYASHI Born in Nagano prefecture 1946- [About the work] The phenomenon of me is the blue lighting of one of the hypothesized organic AC lamps. It is said that the aurora emits light when the particles of the solar wind collide with the magnetic field of the earth. Where does the star, and the life looking up at it, come from and disappear? Even in this moment when I feel shining, the light is quiet and deep, and sometimes it may continue to settle while shivering. All these propositions are asserted in the Fourth Extension as the nature of the mind and time itself. (From the introduction of Kenji Miyazawa's poetry collection "Spring and Shura") [Production] '92 Yonago Sculpture Symposium [Session] July 19 -August 27 , 1992 [Participating in the '92 Yonago Sculpture Symposium] I love yonago When I received an invitation to the symposium in early November last year, I pulled out a map of Japan and searched for the location of Yonago City. Growing up in the basin of Shinshu Azumino surrounded by the mountains of the Northern Alps, I have autism, which is the home of my production, and his land in the distant San'in region has never been on my map. .. I woke up from a nap at Oyama SA for 10 hours in the heavy rain that foretold the end of the rainy season, and the city of Yonago breathed quietly and slowly in the faint sunrise sunlight from the clouds mixed with light rain. The scene I was doing is still vividly remembered. At this symposium, I felt that the aspects of the seemingly reckless attempt, which had already been pointed out in the second session, which relied purely on volunteers and donations, came to the fore. In particular, I think that every day of the staff was like walking a tightrope, fighting anxiety, tension, doubts, and their own lives. And I was thrilled by the care and enthusiasm of not showing us the painful kitchen to us. However, the symposium's theme, "Meeting and Contact," was the only reason why all the productions were digested so smoothly that we were able to expand each world to the city of Yonago without injury or illness. Under this ambition, we hope that the next symposium will overcome various barriers, become the core of Yonago's urban development, and become the driving force for exploring and realizing the future of Yonago. Many citizens visited the site with interest. One afternoon when the session was running out, I can't forget the back view of the silver-haired lady who said, "Please love Yonago, too." Thank you to all of Yonago for all the wonderful "encounters and contacts". 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] ㉙ YuNAGI YOSHIO NISHIKAWA Born in Oita prefecture 1950- [Regarding the work] Regarding the concept of this work, I think that the first thing was bleeding in the human body. To express this twisted shape, I thought it would be easier to express it from the back than from the front, so the first drawing was a female human body with the Nakaumi in the background. The twisted and moving shapes such as the waist, shoulders, neck, and head are very interesting, and the work itself that expresses this is a work that requires a very realistic technique. However, this work itself must not bring out the technology, otherwise it will be a work that must be done. Another factor is how to grasp the mass, and by putting in work such as balancing everything by making the upper body smaller than the lower body, the human body sculpture that tends to end up in technical work is more and more. I'm trying to think of it as the shape of the human body in a realistic way, which is the concept behind my current human body work. [Production] 2000 Yonago Sculpture Symposium [Session] July 22nd -August 30th , 2000 [Participating in the Yonago Sculpture Symposium] I've always wanted to participate in the Yonago symposium, but I came to Yonago with a wish, but what made me a little lonely was that I couldn't find a Kanban symposium in the city. I went to the venue thinking that it wasn't as exciting as I expected. Mr. Funakoshi, Mr. Soda, Mr. Ikeda, and Mr. San welcomed me as if I was the first rider. I was just thinking that I had to finish the whole body image in the last 40 days. Anyway, I had decided before I came that I wouldn't go sightseeing at all until I got the idea, so I really wanted to start work as soon as possible. It looks like it was particularly hot this summer, but I didn't really feel it. I started working around 8am and worked until 6pm. I think I did it well now. I think this is also thanks to the volunteers, government offices, museums, and Asahimachi people. it was fun. I don't think I had it mentally or mentally every day I just worked and went home. What I thought in the last 40 days is that the feelings toward the symposium are strong, so disagreements have surfaced, but it is strange that there is no symposium together. am. I think that the citizens of Yonago may not be aware that this symposium is well known in the center. There are quite a few sculptors who want to attend this symposium. Even if this organization is not a monolith, I think that no one wanted to stop this symposium even after talking with various people. Volunteers, government offices, and museums all worked hard, and of course the participating artists were the same. Even if the budget is cut, even if there is no Kanban in the city, the writer (let's do it for me) knows that loneliness is something to feel, but fun and mercy are something to find. .. It was true that the last 40 days were more fun than lonely. I did my best to sculpt, drank alcohol, but it was a pity that I could hardly do sightseeing. I would like to make time to see it again. A yacht gliding in Nakaumi early in the morning really soothed my heart. I couldn't climb the Yonago Castle Ruins, but the sunset over the Shimane Peninsula was really beautiful and I was happy to be able to spend such a time. I wonder how many years it has been for such a time. I also think that many women were beautiful. Disagreements are commonplace, and things should continue once you start doing things. The contents should be enriched gradually, and I would like you to do your best as an exercise for this cultural activity. I forgot the loneliness I first felt in five days. Finally, we would like to express our sincere gratitude to the citizens of Yonago and pray for their further development. 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]㉛Talk NAMI HISHIDA Born in Tokyo 1965- [About the work] Stones have existed since the birth of the earth we live in. From a wide variety of stones, meet your favorite stone and create an image of your work. The stone itself has a strong power and shines powerfully. I would like to make something that makes the most of that presence. With a little modification by me, a new breath is blown into the stone and it becomes a powerful work. My work consists of a broken surface and a cut surface. When you break a stone, it doesn't break as planned as you did in the beginning. The stone itself breaks in the direction you want to break. The shape created by chance from there is the most beautiful and natural shape like the stone. By polishing the cut surface, the beauty of the split surface is made more prominent. It's an abstract form, but I gave it the title "Talking" and arranged the four stones as if they were talking, while keeping a little space between the stones. I would be happy if people who come to see this work can have fun talking with each other. [Production] 2002 Yonago Sculpture Symposium [Session] July 13th -August 25th , 2002 [Participating in the Yonago Sculpture Symposium] It was my first time to come to the Chugoku region, and I came to Yonago without knowing the positional relationship between Tottori and Shimane prefectures. Previously, the writers who participated in Yonago Sculpture Symbodium heard that Yonago is a very good place and even a "girl" is okay, so I wanted to make a work here someday. I'm really happy to be able to participate in this symbolium, I had the feeling that I had to finish the work in 40 days anyway, and my head was always full of work. Originally, I was weak in the morning, but every day I went to the venue early in the morning and worked on the production with a refreshing feeling while feeling the breeze from the sea. The other three writers are older and more experienced than me, so I learned a lot from the new discoveries I had, such as how to proceed and how to work. I usually make it without being conscious of myself being a woman, but at the opening ceremony, Mayor Morita said, "Yonago is a woman-friendly land." I thought he was a "girl" and felt a little happy. Volunteers also took care of the sunburn on their skin and gave them cosmetics, which made me feel better. I was able to concentrate on making the work because he took care that if I wanted ice cream or juice, it would arrive immediately. Production in an unfamiliar land can be tense and confusing, but the people of Yonago and the land sometimes unraveled all of them. The calm cityscape was also nostalgic. Moreover, when it came to food, I wondered if the fish were so delicious. As I talked with various people, I gradually deepened my desire to leave good works in this area and to make works that are loved by everyone. I'm glad that the environment is good and I can create what I imagined. I feel that the work is completed only with the support of many people, not the power of myself. My work is installed under a pine tree, but since it is a walking path for people who come to the park, many people will see it. I hope that you will be familiar to people for many years to come. As the seasons change, the work will show a variety of expressions. When I came to Yonago, I touched on the importance of interacting with people and the warmth of my heart. I am grateful for the encounters with stones and people, and I would like to cherish Yonago as my treasure. 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。 [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 of work] ④ Words of the heart KEI SAZEN Born in Tokyo 1965- [About the work] Nowadays, I have more chances to hear the murderous and sad news. Even if we look at war, conflict, violence, ethnic independence and coexistence, and minimization of society, there are many problems such as bullying of the vulnerable and domestic abuse. The information-oriented society has diluted the relationship between people and the relationship between people and society in exchange for the abundance of matter and information. In these series of phenomena, various problems surrounding the turning point of the era that human beings are destined for are strongly reflected, but even the human life environment shakes the outlook on life, the outlook on human beings, and the outlook on ethics. It shouldn't seem like it is. Humans cannot live alone. Supported by irreplaceable family and friends, and watched over by their hometown, individuals have been warmly nurtured. If people become one mass through mutual communication, a strong bond should be regenerated. Promoting mutual understanding with the world and deepening the understanding of diversity will open the way for human coexistence and symbiosis. The "heart" that is inherent in all living things but can never be seen by the eyes. People have built a rich world by understanding by overlapping their hearts. He found two supporting "hearts" in black granite and expressed the true strength and kindness of human beings. I sincerely hope that it will become a playset that will be hugged by children, dirty with traces, and polished with the buttocks of trousers, and will blend in with the scenery of the city. What is your "word of mind"? [Production] 2006 Yonago Sculpture Symposium [Session] July 15 -August 26 , 2006 [Message from the writer] When I was a student, the sculpture symposium reached its heyday, and I envied my seniors who came home with a black tan, using the experience of one summer as a souvenir. After that, I also participated in several symposiums because of my relationship, but none of the symposiums disappointed me, and it was an exciting day to interact with the artists and create in a new environment. Meanwhile, the Yonago Sculpture Symposium opens in the year I graduated from art university. At an exhibition by a stonemason, former participants nostalgicly talked about the splendor of Yonago. You may be able to meet such a smile in Yonago. It was then that the feelings for this place began to be solicited. Was it two years ago when I heard that "it seems to be a break next time"? I sent the materials, but there was no sound until the end of the year, and when I was about to give up, I received a message. When it was opened, it was a public offering by a competition. Even though it was late, planning for three different sites was a difficult task, and it was the day before the deadline that I posted the drawings after all the trouble. Notification of the decision to start spring. It is also fresh in my memory that I couldn't find the stone I wanted during the site visit and left Yonago with a bit of anxiety. The heat wave of Yonago was heard every time, but every day I looked at the laundry and the sky without drying in the unexpected long rain right after the opening. Looking back on the session, there was no one to stop the production regardless of the weather, and I feel that the rain preserved the physical strength of the four people who are serious about the work. The elements of the work and the motivation of the production process are greatly influenced by the environment. The enthusiasm and devoted support of Chairman Tomomatsu, the secretariat, the executive committee, and the volunteers is deeply engraved in the heart of the artist, and above all, in every corner of the work. It is no exaggeration to say that the work born in Yonago is a joint production with all the people involved in the symposium. I felt that the spirit that built up the "Yonago method", which was said to be a model for symposiums, and the sincerity of "contact" that people cherish are the treasures of this town. In addition, the everyday life of the Sanin region for the first time and the scenery surrounding it were memorable. The venue in the dim morning, the smile of the child in the sculpture class, the sunset over the Nakaumi, the many lights of the Gina Festival, the night view of Yonago seen from Oyama, the neon lights of Asahimachi, and the Yonago Castle Ruins that I climbed to commemorate the installation of the work. You will never forget the view and so on. Even so, it was a delicious town no matter what I ate. During the period, a local historian found out from historical documents that my ancestors were in Tottori. Yonago felt nostalgic and uncomfortable because there must have been a fragment of this hometown somewhere in my body. This summer, I have a wonderful memory album. I would like to express my heartfelt gratitude for meeting the smiles of many people and the members who gave me strength and courage. gradually. 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] 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

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] ⑲ Landscape buds KEIJI UJIIE Born in Gunma prefecture 1951- [About the work] Unlike the places where sculptures were installed so far, the promenade on the riverbed has a warm location that makes you feel the original scenery of Yonago, with old-fashioned private houses and a series of mountains on the opposite bank. In such a scene, I thought about a work that would be the bud of future town development. [Production] '96 Yonago Sculpture Symposium [Session] July 13 -August 25 , 1996 [After the '96 Yonago Sculpture Symposium] Yonago, a city where landscapes sprout The bud of the scenery is the title of the work I made at this symposium, but the scenery was sprouting in various places in the city of Yonago. Not only the nature around Yumigahama's coastline, Shiroyama, and Oyama, but also the various towns I meet every day while riding a bicycle, the buds of the scenery I think of were about to sprout. However, unfortunately, I also encountered a place where the buds of the landscape that was about to sprout had died. It is the place that forms the center of the city and is also visited by many people. While I was in the United States, I was asked several times about my impression of the city of Yonago, but I answered that I am now in a foreign country. That's because people's lifestyles were really rich, centered on the city and Nakaumi. I felt that the relationship between culture and nature, which is lost in today's Japan, which is centered on a big city, and the identity of human life are very well done. The part that I'm sorry about earlier is the part that doesn't make me feel it. A foreign country may be a living space that Japan should have originally, including the culture of the back alleys like Asahi Town. The current progress of Japanese cities is so unusual that it makes us want to grasp such a paradoxical thing. What impressed me about my life in Yonago was the connection between people and the sea. The promenade along the Nakaumi near the venue where the fireworks and the basketball party were held, starting with the citizen regatta, is the place I loved most except for a certain point. The connection between the people of Yonago and the sea is enviable for me, who is trying to find the meaning of work in that people and the environment are connected by a relationship similar to love. I heard that the park promenade on the edge of the Shinkamo River, where we installed the work, will lead to the sea in the future, and we plan to install sculptures there, but it is an excellent place to have the function of connecting people and the environment. I hope that it will become. If the environment is the principle of the symposium, where we drink together, eat together, talk together, and create together, we can create a city that tends to be promoted by the government as a living space for people to live in. .. Currently, art installation projects are being actively carried out in various places, but in order for environment creation and artwork to truly collaborate, it is necessary to remove various frames. Art does not help in the way of bidding and consulting-based business. I think you could understand at this symposium that not all artists have their own way of thinking. We are the best partners who can always live and create with the environment. I am looking forward to seeing you again with gratitude for Yonago's nature, culture and people. '96 .9.14 Return to photo