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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] 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] 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] ⑩ Time of the earth TORU YOKOYAMA Born in Shiga prefecture 1954- [About the work] This work works on the theme of light and time. If you go to the quarry, you can meet the huge rock surface cut out by dynamite. The rocks that have been sleeping for hundreds of millions of years are exposed to the sun by human hands, which is a nuisance to the stones. This time, it is composed of cracked stone skin and artificially modified parts, but I wonder what kind of facial expression will change in the flow of the day and the seasons. I'm looking forward to myself. [Production] '92 Yonago Sculpture Symposium [Session] July 19 -August 27 , 1992 [Participating in the '92 Yonago Sculpture Symposium] I think of the Yonago Sculpture Symposium In my memory, the sculpture symposium began to be held in various places after the first symposium in Manazuru in Japan. Especially recently, it has been taken up in local cities as part of "City planning with sculpture". I think the attraction is that the theme of the Yonago Sculpture Symposium is "encounter contact", and strangers beyond their position can talk about art through their works. However, there are many issues. It includes problems that cannot be solved by a single artist, such as the environment in which it is installed, financial problems, the understanding of citizens' works of art, and maintenance of works. The Yonago Sculpture Symposium takes a private-sector-led format, which is one of the few in Japan, and we hope for dynamic development, including cooperation with the government, in exploring the future direction of the historically young symposium. .. Finally, the installation of my work was done in the rain, which was a lie in the heat of the past. It is the most tense moment as a writer whether the hard work of 40 days will become a bubble of water. After the installation was completed safely, at the closing ceremony, I wanted to shout "Heaven looks at Yonago" while looking up at the work that stood up in the newly built cultural hall with a clear blue sky. Looking back on the past summer of Yonago, I would like to express my heartfelt gratitude to all the people who have taken care of me so far. 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。 Yonago Sculpture Road No posts published in this language yet Once posts are published, you’ll see them here.

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] 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 [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

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] ㉚ Image of memory KAZUKO SAITO Born in Tokyo 1960- [About the work] The days when everything I felt with my body was far away. While feeling dizzy in the rapidly changing daily life, I feel myself floating in the excess of information. The events in front of us pass by every moment, and the passage of time never stops. Then, through a filter called me, only the melted ones sink into the pond of memory. "Memory" is a motif of my sculpture that has been going on since 1987. When I look into the pond of memory inside me, I remember being surrounded by the vague and sweet light that appears and disappears. I am worried about such vague memories, and I find the fragments in the material called stone. By carving and polishing with the body, the memory is ruminated and becomes a "image of memory". And the work goes back to my daily life. I hope that it will pass through someone's filter and melt into the pond of memory. It becomes one of the information again and flows. [Production] 2004 Yonago Sculpture Symposium [Session] July 17 -August 28 , 2004 [Participating in the Yonago Sculpture Symposium] The 43-day symbolium began at Minatoyama Park in the heat of the heat. It was different from the production in the atelier, and it was a little hard until the rhythm was made, but the production venue where I go by bicycle every day was supported by the secretariat and volunteers, and it became a familiar atelier. I went. Since it is held in an open space called a park, many people watched it, and it was possible to show the sculpture production live not only to those who are interested in sculpture but also to various people who visit the park. It was meaningful to me. Communication with various people through sculpture production was not only fun but also difficult. However, on the contrary, it also became a comfortable feeling of tension, and as a result, I think it was one of the reasons why I was able to spend a fulfilling 43 days. My place is in the park, where you can feel the cherry blossom trees around the work and the wind from the Nakaumi spreading to the west. Unfortunately, it was still cold when I visited for a preview, and when I couldn't see the shape of the cherry blossom buds, I heard about the wonderfulness of the cherry blossoms and the setting sun at the installation site. While envisioning a landscape surrounded by the colors and air of the pale bink of cherry blossoms, the warm orange of the setting sun, and the scent of the tide in the space of winter withering, I remember as if I imagined something nostalgic and soft. I have been thinking about a plan that I would like to comfortably accept such a soft space and create a sculpture that blends into the space. "I went to see the installation site every day during the production. It was past the time of flowers, and the cherry blossom trees in midsummer shined green and the dignified expression was impressive. The flowers are good, but the green is also good. The space surrounded by the colors of cherry blossoms and plants in each season will give various expressions to the work, and the sunset over the middle sea, which is more vivid than imagined, seems to illuminate the work more sweetly. For me, who imagined the scenery of spring, this was a big miscalculation. For the artist, production is the time of conflict with the work and the honeymoon. And completion is the time to break up with the work. From the moment the work is completed, it is no longer in the hands of the artist, and the work blends into the space in which it is placed, creating a new sculptural space. I feel that sculptures are born from conflicts with writers and Mitsuzuki, and grow up in the surrounding space. That is why the space in which the sculpture is placed and the environment surrounding it are very important. Being able to create a work that includes the installation space should be the minimum requirement for a writer, but in reality it is very difficult to realize when installing a work. This time, at the Yonago Symposium, we planned the work including the installation space from the beginning, and we were able to produce it almost as we imagined. This seems easy and difficult. I think it was possible because of the great cooperation and understanding of the people involved. I'm really thankful to you. The rest is to blend in with the space surrounding the work and grow into a presence that is loved by more Yonago people. Please keep an eye on me for a long time. 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