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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] 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

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] ④ Words of the heart KEI SAZEN Born in Tokyo 1965- [About the work] Nowadays, I have more chances to hear the murderous and sad news. Even if we look at war, conflict, violence, ethnic independence and coexistence, and minimization of society, there are many problems such as bullying of the vulnerable and domestic abuse. The information-oriented society has diluted the relationship between people and the relationship between people and society in exchange for the abundance of matter and information. In these series of phenomena, various problems surrounding the turning point of the era that human beings are destined for are strongly reflected, but even the human life environment shakes the outlook on life, the outlook on human beings, and the outlook on ethics. It shouldn't seem like it is. Humans cannot live alone. Supported by irreplaceable family and friends, and watched over by their hometown, individuals have been warmly nurtured. If people become one mass through mutual communication, a strong bond should be regenerated. Promoting mutual understanding with the world and deepening the understanding of diversity will open the way for human coexistence and symbiosis. The "heart" that is inherent in all living things but can never be seen by the eyes. People have built a rich world by understanding by overlapping their hearts. He found two supporting "hearts" in black granite and expressed the true strength and kindness of human beings. I sincerely hope that it will become a playset that will be hugged by children, dirty with traces, and polished with the buttocks of trousers, and will blend in with the scenery of the city. What is your "word of mind"? [Production] 2006 Yonago Sculpture Symposium [Session] July 15 -August 26 , 2006 [Message from the writer] When I was a student, the sculpture symposium reached its heyday, and I envied my seniors who came home with a black tan, using the experience of one summer as a souvenir. After that, I also participated in several symposiums because of my relationship, but none of the symposiums disappointed me, and it was an exciting day to interact with the artists and create in a new environment. Meanwhile, the Yonago Sculpture Symposium opens in the year I graduated from art university. At an exhibition by a stonemason, former participants nostalgicly talked about the splendor of Yonago. You may be able to meet such a smile in Yonago. It was then that the feelings for this place began to be solicited. Was it two years ago when I heard that "it seems to be a break next time"? I sent the materials, but there was no sound until the end of the year, and when I was about to give up, I received a message. When it was opened, it was a public offering by a competition. Even though it was late, planning for three different sites was a difficult task, and it was the day before the deadline that I posted the drawings after all the trouble. Notification of the decision to start spring. It is also fresh in my memory that I couldn't find the stone I wanted during the site visit and left Yonago with a bit of anxiety. The heat wave of Yonago was heard every time, but every day I looked at the laundry and the sky without drying in the unexpected long rain right after the opening. Looking back on the session, there was no one to stop the production regardless of the weather, and I feel that the rain preserved the physical strength of the four people who are serious about the work. The elements of the work and the motivation of the production process are greatly influenced by the environment. The enthusiasm and devoted support of Chairman Tomomatsu, the secretariat, the executive committee, and the volunteers is deeply engraved in the heart of the artist, and above all, in every corner of the work. It is no exaggeration to say that the work born in Yonago is a joint production with all the people involved in the symposium. I felt that the spirit that built up the "Yonago method", which was said to be a model for symposiums, and the sincerity of "contact" that people cherish are the treasures of this town. In addition, the everyday life of the Sanin region for the first time and the scenery surrounding it were memorable. The venue in the dim morning, the smile of the child in the sculpture class, the sunset over the Nakaumi, the many lights of the Gina Festival, the night view of Yonago seen from Oyama, the neon lights of Asahimachi, and the Yonago Castle Ruins that I climbed to commemorate the installation of the work. You will never forget the view and so on. Even so, it was a delicious town no matter what I ate. During the period, a local historian found out from historical documents that my ancestors were in Tottori. Yonago felt nostalgic and uncomfortable because there must have been a fragment of this hometown somewhere in my body. This summer, I have a wonderful memory album. I would like to express my heartfelt gratitude for meeting the smiles of many people and the members who gave me strength and courage. gradually. Return to photo

国内外の彫刻家を招き、1988年から2006年まで隔年で開催された米子彫刻シンポジウムで制作された36体の彫刻は、米子市文化ホールから湊山公園までの新加茂川沿いの遊歩道約3キロにわたり設置されています。米子彫刻ロードは「美しい日本の歩きたくなるみち500選」のひとつとして選ばれるほど美しく、情緒に満ちています。 [Title of work] ㉙ YuNAGI YOSHIO NISHIKAWA Born in Oita prefecture 1950- [Regarding the work] Regarding the concept of this work, I think that the first thing was bleeding in the human body. To express this twisted shape, I thought it would be easier to express it from the back than from the front, so the first drawing was a female human body with the Nakaumi in the background. The twisted and moving shapes such as the waist, shoulders, neck, and head are very interesting, and the work itself that expresses this is a work that requires a very realistic technique. However, this work itself must not bring out the technology, otherwise it will be a work that must be done. Another factor is how to grasp the mass, and by putting in work such as balancing everything by making the upper body smaller than the lower body, the human body sculpture that tends to end up in technical work is more and more. I'm trying to think of it as the shape of the human body in a realistic way, which is the concept behind my current human body work. [Production] 2000 Yonago Sculpture Symposium [Session] July 22nd -August 30th , 2000 [Participating in the Yonago Sculpture Symposium] I've always wanted to participate in the Yonago symposium, but I came to Yonago with a wish, but what made me a little lonely was that I couldn't find a Kanban symposium in the city. I went to the venue thinking that it wasn't as exciting as I expected. Mr. Funakoshi, Mr. Soda, Mr. Ikeda, and Mr. San welcomed me as if I was the first rider. I was just thinking that I had to finish the whole body image in the last 40 days. Anyway, I had decided before I came that I wouldn't go sightseeing at all until I got the idea, so I really wanted to start work as soon as possible. It looks like it was particularly hot this summer, but I didn't really feel it. I started working around 8am and worked until 6pm. I think I did it well now. I think this is also thanks to the volunteers, government offices, museums, and Asahimachi people. it was fun. I don't think I had it mentally or mentally every day I just worked and went home. What I thought in the last 40 days is that the feelings toward the symposium are strong, so disagreements have surfaced, but it is strange that there is no symposium together. am. I think that the citizens of Yonago may not be aware that this symposium is well known in the center. There are quite a few sculptors who want to attend this symposium. Even if this organization is not a monolith, I think that no one wanted to stop this symposium even after talking with various people. Volunteers, government offices, and museums all worked hard, and of course the participating artists were the same. Even if the budget is cut, even if there is no Kanban in the city, the writer (let's do it for me) knows that loneliness is something to feel, but fun and mercy are something to find. .. It was true that the last 40 days were more fun than lonely. I did my best to sculpt, drank alcohol, but it was a pity that I could hardly do sightseeing. I would like to make time to see it again. A yacht gliding in Nakaumi early in the morning really soothed my heart. I couldn't climb the Yonago Castle Ruins, but the sunset over the Shimane Peninsula was really beautiful and I was happy to be able to spend such a time. I wonder how many years it has been for such a time. I also think that many women were beautiful. Disagreements are commonplace, and things should continue once you start doing things. The contents should be enriched gradually, and I would like you to do your best as an exercise for this cultural activity. I forgot the loneliness I first felt in five days. Finally, we would like to express our sincere gratitude to the citizens of Yonago and pray for their further development. Return to photo

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