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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] About Yume HIROSHI HAYASHI Born in Tokyo 1955- [About the work] My work will be left as it is, as you see and feel it. I think it's best to leave it to the sensibilities of the people who see the work. However, in embodying the image of the work, I am based on the inspiration that came from the impression of Yonago City, the landscape of the installation location, and my own way of thinking about sculpture. My theme in making sculpture is "what can I do through sculpture between my child and me", which is also based on that theme this time. It would be great if the children could give their free impressions by looking at my work. [Production] 2000 Yonago Sculpture Symposium [Session] July 22nd -August 30th , 2000 [Participating in the Yonago Sculpture Symposium] I was surprised at the sudden heat at the opening ceremony, but the comfort of the breeze helped me a lot throughout the session. Being near the sea was a very special thing for me, who often plays in the mountains and rivers, and it was also a luxury time. The water in Nakaumi didn't look very clean, but I never got tired of looking into the water every day. The goby, which was still small when it came in July, had become a magnificent fried size by the time the work was installed. Also, if you go a little further, you can enjoy the beautiful Sea of Japan, delicious seafood and sea play with your family who came during the session. I was able to climb Oyama after the installation was completed. It was a mountain with a height of about 1700 meters, but when I climbed it, it was quite steep, and I, who was supposed to be a good leg, was a little stubborn. As I walked along the mountain trail, watching the rattling and collapsing valleys, I noticed that there were many young local families. Light mountaineering and hiking are also popular in Tokyo, but most of them were middle-aged and elderly and felt the aging of the mountaineering population, but this time Oyama is said to be because families with small children are happily climbing. It's not that, but I felt very happy when I greeted the passing children and Konnichiha. I thoroughly enjoyed the sea and mountains, but unfortunately I couldn't play in the river. I couldn't go to my favorite mountain stream fishing, but I will save it for the fun when I come next time. Even though it is a big city like Yonago, there is a lot of nature around it and I felt that it was a really well-balanced town. Among the impressions of Yonago that I had, such as many beautiful women, no trash on the road, and no Seven-Eleven, I liked the good distance between the city and nature. I didn't mean to just play around, but my honest impression is that it was a fun summer. The three seniors I worked with were all good people, and thanks to the staff who responded wonderfully to the selfish writers and, above all, the volunteers who took care of me, I had this impression. I think. Thank you so much. Return to photo

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

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

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

国内外の彫刻家を招き、1988年から2006年まで隔年で開催された米子彫刻シンポジウムで制作された36体の彫刻は、米子市文化ホールから湊山公園までの新加茂川沿いの遊歩道約3キロにわたり設置されています。米子彫刻ロードは「美しい日本の歩きたくなるみち500選」のひとつとして選ばれるほど美しく、情緒に満ちています。 [Title of work]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] ㉗ Hikari HIROKI KONDA Born in Yasugi City, Shimane Prefecture 1967- [About the work] For us, "changing" is emotional, stimulating and interesting, sometimes we want it and sometimes we don't. "Light" slowly competes with "the force that pushes out" and "the force that tries to maintain equilibrium" from the inside to the outside of the stone, and "what will happen?" "Anxiety" and "expectation" asking "Is it something different?" I wanted to make a work with various possibilities. From now on, our values will change, and each viewer will have different feelings and views. The title is "light" in the sense of "light of hope for the future", hoping that each person in each era will feel and see it. [Production] 2004 Yonago Sculpture Symposium [Session] July 17 -August 28 , 2004 [Participating in the Yonago Sculpture Symposium] It was exactly 10 years ago that I participated in this Yonago Sculpture Symposium as an assistant for the first time. While helping the artist and having conversations with the people involved and volunteers, one day I wanted to participate in this symposium and create a work. And when it was decided that I could participate this time, I was so happy that I couldn't sleep for several days. July 17, 2004, that day has finally arrived. It's a long-awaited day. From morning till sunset, being able to concentrate on sculpture and work while thinking only about sculpture is "the best !!". This has never happened before. And I thought it was a luxury thing. Tea is served during breaks, meals are served at meal times, and if there are any inconveniences during work, the secretariat and volunteers will promptly respond to the work. Got well. But there were times when I was disappointed. Originally, I am a night person. No matter how late the night is, it's hard to beat, but in the morning it's vulnerable. When I went to the venue in the morning, all the other writers had already come. The hot days continued during the period, so everyone was ready to enter the venue at 4 or 5 o'clock. I'm thinking that I'm the local, and I'm not enthusiastic about welcoming other people here. I tried to sleep earlier than usual at night, but I couldn't get the first ride at the venue. Among them, the other writers were the first to take the lead, and finally I was the only one left behind. And just two weeks after the symposium started, I was finally able to get the first ride at the venue. On that day, I was able to work hard on the production with the joy of double and triple, which was the refreshingness of the morning and the fulfillment of my wishes. However, in the end, I was able to get the first ride only twice in the whole schedule. Still, I felt really happy to say that it was the best. That way, when I was working early in the morning, I was able to meet various people who I wouldn't normally meet while taking a walk in the park. Then, since it's everyday, I gradually became able to talk, and it was very impressive that some people said this in the conversation. "The service life of a building is several decades. Stones have a much longer life, so it's rewarding." From now on, I feel that this work and this sculpture symposium will be seen by various people over time and will become the cornerstone of a new era. Through this symposium, I met and interacted with many people, and my work was completed. I would like to thank you from the bottom of my heart. 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] 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] ㉖ Manners SHINGO MURAI Born in Oita prefecture 1952- [About the work] Ishikamo along the river The white Mikage stone block on the promenade along the Kamo River is divided into two by three right-angled faces and arranged in a slightly open state. The orientation was determined by the levelness of the river surface, the inclination of the concrete wall on one side, and the shape of the promenade covered with brick tiles. "Manners" is what it should be and what I am. How do people who come and go perceive the confusion that things are placed in an empty space? [Production] 2000 Yonago Sculpture Symposium [Session] July 22nd -August 30th , 2000 [Participating in the Yonago Sculpture Symposium] I had heard about the Yonago Sculpture Symposium several times from acquaintance writers, and everyone talked about the goodness of Yonago with a nostalgic look. Thirty years ago, when I was just enrolled in art school, I had no special feelings for Yonago other than the memory of just passing by while traveling around the Chugoku region by car with a friend. was hearing. Living in a new land that can be freed from miscellaneous things and buried in production is a happy time by itself, but I miss the blessed natural environment and the calm townscape, and from the standpoint of everyone involved in the symposium. I was encouraged by my passion and was able to concentrate on my work comfortably. The distance between the production site and the installation location was also ideal for me, and I was able to go back and forth frequently and make convincing confirmation work. I think this is the most important factor in sculpture production. This is one of the great things about the Yonago Sculpture Symposium. Following the changes in the world, the diversification of art has progressed rapidly, and it is not easy to find a shape suitable for Yonago from the wide range of options. The anguish between what to keep and the new changes is the same for writers. I hope that the Yonago Sculpture Symposium will grow as well as my own growth as a writer. The wind that crosses the Nakaumi. The heat of the calm. Fireworks I saw up close. Toro nagashi, heron. Monkey-faced cat. Shiba Inu who doesn't know the name with a beautiful woman. Sweaty face of a healthy young person rowing a boat. After the closing ceremony was over and everyone was sent off, I returned to Minatoyama Park and climbed up with breathlessness due to the deep sake of the nights. I got up to work faster than anyone else, sat down under a blue tarpaulins tent swaying in the wind across the Nakaumi, and drank while looking at the stones. Encounter with many wonderful people. Every time I returned from Yonago and my acquaintances asked me about the symposium, I answered, Yonago was good. I was fortunate to be able to spend the summer of 2000 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] 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