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[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

[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

Around Shinkamogawa ​* Click to see the work information and the state at the time of production.

[Title of work] ㉕ Playback HITOSHI TANAKA Born in Miyazaki prefecture ​ 1949- ​[About the work] In a corner of the hill of the town, the fields where the tumuli are scattered are quietly spread. In contrast to the famous Saitobaru Burial Mound, it is called the Higashitobaru Burial Mound. One of them is an old burial mound called Ishifunezuka, and at the top of the mound, a grave robbed sarcophagus is left under a horse chestnut tree and remains exposed to the rain and wind. However, it is impressive that the red gala at the time of burial still remains vividly inside the casket. The reason I started painting stones with red granite in the series "Regeneration" was simply because I was strongly attracted to the combination of red granite and black granite. The concept is that by applying a folk-colored red gala to the cutting part, various thoughts of people who come into contact with the work are revived from the shadows, and at the same time, an organic form is regenerated. However, it seems that the origin of this expression was in the memory of that sarcophagus, which I often visited to dispel loneliness when I was young. In other words, can it be said that the combination of stone and red gala revived the sensibility of the old man through my personal sentiment? [Production] 2000 Yonago Sculpture Symposium ​ [Session] July 22nd -August 30th , 2000 [In response to Yonago's lyricism] Every day I went back and forth by bicycle from my hotel Wakow to the symposium venue in Minatoyama Park. It was pleasant to go through the old-fashioned alleys, the appearance of old dozo along the Kamo River, and the small city area. Yonago was a cozy city. The work "Rebirth" produced at this Yonago symposium has been a series of works for the past few years, and is usually produced by coloring black granite with red gala. However, the work of this symposium was set up on the promenade along the Shinkamo River just before going out to Nakaumi, so I think that bright stones are more suitable than black granite for narrow roads. I did. Therefore, for the first time in the "Regeneration" series, we chose Chinese granite with a soft pink color. The size is also set so that people who come and go while taking a walk on the green road can stroke it. As a result, I think we were able to produce an effect of a friendly atmosphere that is different from black granite. For writers, the most attractive thing about creating works at the symposium is that various exchanges with local people and participating writers produce invaluable experiences and valuable results. Also, living in a land that I have never lived in for a month or so is to live in a cultural climate that is different from the usual environment, and elements that cannot be embodied in the usual atelier production are the background of the work. I feel like it will be added. Every day of production in Yonago, there were many fun summer scenes around us. The highlight of the Mantokai of the Gaina Festival, the fireworks display at Minato, and the sentiment of the sink. In addition, the quiet beauty of Nakaumi, where young people slide their boats flexibly in the morning and evening, and the greenery on the Shimane side of the opposite bank. The cool breeze brought from the Nakaumi made my daily nap the most pleasant. The deliciousness of the seafood from the Sea of Japan and the deliciousness of local sake that I occasionally mentioned. Oyama's relaxed brave figure and the sharpened blueness of the Sea of Japan. The unique charm of Yonago that encloses them was strongly impressed in my heart, and my work was produced while responding to that lyricism. As long as my work stays here, and Yonago is Yonago, my work will repeatedly witness the happiness of this summer that I shared with me. This joy was the most memorable thing at Yonago's symposium, and it was a feeling I had never felt at other symposiums so far. The selfishness of the writer would have caused a great deal of inconvenience to Yonago in places we did not think of. Thank you very much for your help. Thank you very much. Next time, I would like to visit Yonago in the snow and share the winter atmosphere with my work. Return to photo

[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

[Title of work] ⑨ Scenery SAKAE TERADA Born in Fukuoka Prefecture 1949- ​[About the work] Let's put a stone shape in the landscape of the city. The shape will give various thoughts to the viewers, and will evoke a nostalgic and familiar figure from a distant memory. Clouds in the sky, blue foliage trees, soothing forests and forests, and somehow delicious shapes. A space that gently wraps up such a person and the shape will appear as a new landscape. [Production] '92 Yonago Sculpture Symposium ​ [Session] July 19-August 27, 1992 [Participating in the '92 Yonago Sculpture Symposium] One summer experience It's over for a summer. 2500km round trip to Yonago / Fukuoka / Sakura. Even if I was swayed by a luggage car and arrived at my house, the vibration still remained from the bottom of my body, and my body continued to run even when I was asleep. Mow the grass immediately after waking up. During the absence of 50 days, the surrounding area was covered with grass up to waist height. The sturdiness of the grass that regenerates many times even if it is cut. Just as a plant embraces the power of regeneration in its seeds, after a brief break, I will bud again and grow branches and leaves for the next project. What on earth is this when standing in front of a finished work? I can think of it. Seeds carried by the wind from far beyond the Sea of Japan from beyond the Eurasian continent have just begun to sprout. Is life deeply forgotten deep in the ground showing the sign of its resurrection on the earth? Various thoughts are recalled, and I go around in my head one after another. There is certainly something that is nothing more than a lump of stone standing in front of me. It must have been sculpted by me, but from the time I stood here, it has already jumped out of the category of my thoughts and created a new landscape. Did I really carve this? For the past few years, as soon as I finished installing the work, I wondered if it wasn't made by myself, but the great power of nature was erected here as a substitute for it, and I was just a technique. It seems that he was just a substitute for (the work). The curved surface of the mirror that reflects the surroundings may reflect the world one step ahead like a curved mirror. It gives us a glimpse of a moment to the future beyond the reach of human intelligence. It was hot. Forty days that ended up with only a round trip between the dormitory and the site every day. I've been waiting for my swimsuit. The next time you come to Yonago, let's take in more various scenery in your heart. And when you stand in front of the stone, will the kami be there? Return to photo

[Title of work] ㉜ Akane cloud FUMIO NISHIMURA Born in Matsue City, Shimane Prefecture ​ 1948- ​[About the work] The San'in region has a climate where clouds are likely to appear. The sunset on Lake Shinji seen from the shore of Lake Matsue, where I was born and raised, was magnificent, but the evening view of Nakaumi seen from the symposium venue was also beautiful. Compared to the Kanto region, the position of the clouds is low, and the appearance of the clouds dyed in madder red near the line of sight was a memory of my childhood and invited my nostalgia. I made the work with such an image that a girl sits comfortably in the Akane cloud and looks up at the west sky while making the best use of the color of African red granite. It is a landscape that is impossible in reality, but I hope that it will float in the greenery of Minatoyama Park as a poetic expression of the feelings of a girl in the dreaming season and the shape of clouds that can be transformed. Why don't you sometimes go behind the "Akane Cloud" and look at the clouds and the sky flowing from the window-shaped hollow space from the same perspective as the girl. You may understand the feelings of the girl. [Production] 2002 Yonago Sculpture Symposium​ [Session] July 13th -August 25th , 2002 [Participating in the Yonago Sculpture Symposium] It seems that this summer was extremely hot. The Yonago region also recorded a temperature of over 37 degrees Celsius, so it was certainly hot. However, it seems that the reason why I didn't feel that much heat was due to the cool breeze from Nakaumi and the concentration of the public production. The symposium venue seems to be a wind path from Nakaumi to Shiroyama, and despite the heat of the city, it continued to carry the wind that was sometimes too strong throughout the session. While enjoying a nap in the shade of a tree, it was more comfortable than making it in the Saitama atelier. When I arrived at the venue with rice balls and sandwiches procured at a convenience store around 7:30 every morning, the other three writers had already boiled coffee and welcomed me in a group. Then until sunset, I worked until I couldn't see my hands. This pace did not change the day after the drinking party continued and I had a hard drink until midnight. When it was about to be completed in August, I decided to leave the battlefield and take a weekly vacation, but I pay tribute to the writer who worked almost without rest until the end. Thanks to that, I was able to create a work about twice as fast as usual. There is laundry fluttering in the wind. Next to that, curry rice is filled with rice, there is a raw vegetable salad, and Kobe beef is roasted. The writers are relaxing with a beer. It is the scenery of lunch one day. At lunch time, which was only a delivery lunch at first, thanks to the kindness of volunteers and administrative staff who felt sorry for it, miso soup was gradually added, salad was added, and plum wine for naps was also added as mentioned above. A gorgeous lunch time has appeared. Everything was in this condition, and the environment was prepared so that the artist could easily produce it. We appreciate. At the foot of Mt. Oyama, Yonago, which was blessed with nature, was a land rich in humanity. I felt the spirit of nurturing an art culture rooted in the San'in climate, and it was fun to interact with vibrant people. Especially women seemed to be fine. I went out to Asahi-cho every night to drink, and I became drunk with fresh seafood from the Sea of Japan and cultivated my spirit. Occasionally, on-site staff left work and stayed with me until midnight. Was your family okay? It seems that dark clouds are beginning to appear at the end of the sculpture symposium due to the financial difficulties of local governments these days, but it seems to be a problem that can be solved if the private sector and the government take flexible measures with wisdom for 100 years. It seems. Yonago Sculpture Symposium has grown into one of Japan's leading sculpture symposiums over and over again, and is famous in the world of sculpture. Many masons want to come to Yonago. This is also the result of the efforts of the executive committee members. I would like to thank you again as one of the members of the 8th Yonago Sculpture Symposium. Everyone in Yonago City was gradual. Return to photo

Yonago Sculpture Symposium Trajectory August 25, 2006 Professor Katsumi Ida, Tokyo Zokei University The world's first sculpture symposium was proposed in 1959 by a writer named Karl Plantel of Austria. In fact, in 1957, when he was asked by the government at the time for a stone monument to determine the position of the border between Austria and Germany, he wondered if he could make use of it in university classes based on his experience of carving stones outdoors. I was struggling, but it seems that it changed to what I should do if I invited writers from each country to make works in Japan. At that time, 11 writers from 7 countries are certainly participating. Since it was 1959, it was 1959, and the participating artists at that time returned to Japan and started symposiums in each country. A symposium was held in the former Yugoslavia in 1961, and Japanese writers came to be called at several times. With that as an opportunity, there will be a movement to hold a symposium in Japan as well. The first event held in Japan was in 1963 in Manazuru, Kanagawa Prefecture, in anticipation of the Tokyo Olympics, hosted by the Asahi Shimbun. Since then, it has been held in various places such as Shodoshima, Hachioji, and Hagi. Yonago will hold it at Minatoyama Park in 1988 and 1988. In a sense, I thought it would be almost impossible to do just by raising funds, but it was just around the time when Japan was about to enter the booming economy of the bubble, so from the outside, there was a historical background. I think I was lucky to start. From the outside, it was suggested by only young people from the private sector, so there were various mistakes, and there was a time when the government did not receive any assistance and there were only two executive committee members. There are only two people. When I was at a loss because no one listened to me, I was able to meet Mr. Iwasaki, the late president of Sanin Shinpan, and when I consulted, he said, "Do it!" Then I have a deficit, so do it. " I felt like I could do something about it, but I realized that we couldn't do anything alone in creating an organization, so we had to have someone who would be the core of the organization. I was asked to become the secretary general with the feeling of deceiving Professor Tomomatsu because there must be someone who can talk properly with the government (laughs). Finally, I was able to stand at the starting point for holding the symposium. As for the material of the stone, 50 tons of granite will be provided free of charge from Mr. Mitsuda Stone of Okayama City, and it is good to get it for free, but at that time it was decided how to transport it from Okayama to Yonago. Thanks to Mr. Tomomatsu's efforts, Mr. Hatsuma will be able to carry the fare for free. When it comes to what to do with the crane when unloading it, I felt that it was free because Mr. Hattorishima had it (laughs), so I asked him to do it almost for free. Is that the good thing about Yonago people? I think that everyone was very supportive of the start, as they were interested in things that seemed interesting. However, for about two weeks after it started, I try hard to raise funds, but I don't collect. Only about 30% of the planned amount was collected. So it was in front of Obon, but Mr. Tomomatsu called me and let me go to a private room and said, "I'm going to do it." I thought that Mr. Iwasaki would be able to do something even if I was told that, but Mr. Tomomatsu seemed to think that he would not cause any inconvenience, so he paid the insurance money. I was told to sell the land because I am a farmer because I will cancel the contract. In other words, I felt that I was responsible for that much, but I thought that if Mr. Tomomatsu canceled the insurance money, the person who was deceived could not help selling the land (laugh) ), When the Obon festival was over, money suddenly started to collect, and the amount of money raised was much larger than planned, which was too much to run the symposium. In some cases, boys donated coins in bottles, and in some cases, an old woman over 80 brought rice balls for the writer. The spread of such support continued until the last day. I was physically distressed during the symposium, and I was honestly wondering if it would end early, but in a sense it feels like the best symposium. The signboard of the Yonago Sculpture Symposium was also hand-written by the members of the executive committee. We repaired the abandoned tree, painted it with white paint, and wrote it together. I haven't placed an order with a vendor. We did it all together. I wonder if someone was watching that kind of figure. In such a nice atmosphere, the works were completed with good momentum from the writers, but I explained to the writers in advance how to set up the works and where to set them up, but the final step is unclear. I started as it was, so in the worst case, I couldn't install it for about half a year after the work was completed. In some cases, we couldn't get an agreement with the artist about the place we wanted to install, we couldn't get an agreement on the receiving side, and it was extended for about half a year. That was a great lesson, and at the time of the second (1990), it was necessary to clearly decide where to install it before doing it. This is the only example of the 10 symposiums, but the pedestal of the work was decided first. From the writer's point of view, I thought it was a pretty terrible environment, but since I was doing it under the initiative of the private sector, it would be extremely difficult to install it, so I installed it a second time in a fairly forcible manner. Did. As a result, the current sculpture road plan came out. From the 3rd time (1992), there was an opinion that it would be a good idea to put it on a pedestal like a square box, and I decided to get rid of it because it was justified. At this time, the sculptor and the secretariat probably did the most clearly in the 10 symposiums (laughs), or I think that there were the most discussions. As a result, it is now possible to place the sculpture on top of the interlocking as it is now. At that time, the sidewalk next to the Cultural Hall was made with a national subsidy, and the completion inspection had not been completed yet. Therefore, it would be a problem for the government office to get rid of the plants without permission or to peel off the bricks. However, from the standpoint of the artist, it is natural that if you want to set up a work, you want to make it the most environmentally friendly and regrettable form in the future, which is the conscience of the artist. Discussions about what to do in it continued like every night. It was a symposium where stones were carved during the day and installed at night. Among them, Mr. Matsuoka, who was the director of the urban development department of Yonago City at that time, said, "I'm not talking about this because everyone thinks it's bad. How can everyone be good for Yonago? I'm discussing whether it's okay, so as a result, it will be better here, so let's get rid of the planting, if it's okay to peel the bricks, that's better, I think it's okay, so I'm hungry if anything Let's do it with that. " I have met many government officials in both Tokyo and Nagano, but for the first time I have met those who have been told by the citizens. Thanks to this, the installation method has become ideal. Around that time, the "Yonago method" was formed, and the language was born and spread throughout the country. Therefore, I feel that the third Symbodium is a turning point in Yonago, or the initial completion stage. It was the 4th time (1994), and Mr. Tomomatsu has been managing it as the secretary general from the 1st time, but at the same time the way of collecting donations becomes very bad, there is no place to install it from the city planning section. So, the executive committee decided to put an end to it for the fourth time. So this time, I saw Oda Shoreler from Germany, as I was asked to call overseas writers, and if I wanted to call them, a beautiful writer would be good. -Since the symposium is over, we invited all 17 past writers to a forum. At the table, Mayor Yonago Morita asked me to continue, so the city later formulated the "Basic Plan for Town Development with Sculpture" and obtained the approval of the city council. In this way, under the initiative of the city, it was launched in a new form based on the know-how of the private sector from the 5th (1996). I think it started with a much better feeling than when I was doing it in the private sector on a budget, and it is environmentally better than before. The problem is that in the case of the private sector, audits are tentatively done, but it is not as strict as the local government, so it was relatively easy to collect funds, but it became difficult to do that, and there was a place for interaction between the general public and the symposium. I think it is a fact that it gradually shrank. Looking at the basic plan for town development with this sculpture, the year of completion was when I was 78 (laughs), in fact. So now I'm wondering what that is supposed to be. However, I was enthusiastic about it. After that, the supervisor moved to the Board of Education, and it is still up to now. In the meantime, he received the "Tottori Prefecture Landscape Award" in 1994 and was selected as one of the "500 Beautiful Japanese Ways to Walk" in 2004. In a sense, it can be said that it is a symposium that has been highly evaluated by other organizations and other parties. Also, although it is a rumor among sculptors, I have heard that attending Yonago's symposium will be the status of stonemason and sculptor. The writers you can see here are also those who have overcome considerable difficulties. A few selected from dozens of candidates. Perhaps in the early days, even the selected people didn't even realize that they were listed, but in secret, they spent six months to a year collecting materials, analyzing the writers, and selecting the writers. I did it. The other day, I met a cameraman named Mr. Fujita who has been shooting stone carvings all over Japan, and it was said that there is no other example that works as well as Yonago's carving road. You can't understand it without comparing it. Many Yonago citizens do not look at or compare the sculpture installation status in other cities, so I think that there are places where (Yonago's) sculpture road is not good. If you look at it without comparing it, you will see the problem first, but I have seen various places, but I think Yonago is quite good and the quality is high in terms of installation. .. I thought a little about the pause this time, but if I pause, who will maintain that sculpture? I think that it is a very important part whether it is a judgment that has been considered so far, so I hope that everyone will think hard about that. After that, there are many cities overseas where sculpture is familiar. Not only sculpture but also art is familiar, Kyoto is also a city, but there are many beautiful cities. Considering why it is such a city, I think it is all about the maturity of the city. Whether or not the city is mature, whether or not the city life is mature, and whether or not the symposium will be stopped or not, I think it will be one of the perspectives. As an example, there was a symposium that lasted for about 20 years in the city of St.-Wendel in the former West Germany, where one or two writers were invited to live for three months to a year, and while living, they worked. If you make it. There is a road leading to Rome, where the Crusaders also passed, but there is a project to put stone carved things from the side of that road, so there is a way to do that, so whether you do the symposium or not, the city If we don't think about whether we are mature and whether our lives are going to mature, it will be ridiculous, or the 20 years we have done so far will be wasted. I feel like. return

[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

[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

[Title of work] ⑫ Life '92 RYO SAKAI Born in Nagano prefecture 1950- ​[About the work] I started sculpting because I was interested in living things, especially humans. I'm more interested in images such as "twist", "elongation", and "pressure" that start with applying force, rather than superficial unevenness. I'm trying to confirm its existence. [Production] '92 Yonago Sculpture Symposium ​ [Session] July 19 -August 27 , 1992 [Participating in the '92 Yonago Sculpture Symposium] Miscellaneous feelings ​ It's been a month since the symposium was over, but I'm still so full and tired that I can't put it into words. It was my first time to visit Yonago, so I wanted to enjoy the Sanin climate to some extent, but I was chased by the round trip between the inn and the venue without fail for a day, and on the final day I was only for my own production. I thought that I came to Yonago. It seems that it was hot everywhere this summer, but the heat of Yonago has come. On the second day of production, I started to have blister on my arm, and I was in a hurry to wear long sleeves. The work is delicate. From the perspective of a third party, you may think that the work is only for the artist, but the work never reflects only the artist who created it. The work at the symposium will meet various people, especially during the production period, and will be created through the interaction with those people, so if there is no encounter with those people, the work will never exist. In particular, my work is to work while talking to stones, so the shape of the work changes steadily depending on the environment at that time. "Nama LIFE 92" is a form that was made possible because I met many people at the symposium and received help. We would like to thank all of you who have worked hard toward the common goal of installing sculptures in front of the Cultural Hall, although they are in different positions. I couldn't do any sightseeing trips, but I think I received more joy and gifts. The last day was probably sentimental, and thank you to the inn's aunt who took the trouble to see me off even though I left the inn in the middle of the night because of my selfishness to go home while looking at the starry sky. It was a symposium that was supported by people's feelings until the end. Return to photo

[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