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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] 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] 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

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] ㉑ Yumejiri HIROSHI YABUNOUCHI Born in Kyoto 1943- [About the work] Some of the sculptures installed in the city speak by themselves and try to make the citizens understand their beauty, while others sit, lie down, hug and kiss in close contact with people, and the sculptures and people When it comes to scenery, I decided to set up a work that would bring life to life. The round, soft and cute eroticism-filled form of the butt-like shape expresses the dream space of the city lying on the bed. [Production] '98 Yonago Sculpture Symposium [Session] July 18th -August 30th , 1996 [After the '98 Yonago Sculpture Symposium] When I received a letter requesting participation in the Yonago Sculpture Symposium, I replied, "I am happy to participate." I have visited Yonago City three times in the past to exhibit my work at the Yonago City Museum of Art, but each time my friends from the local members visited the museum, Kaike Onsen, Sakaiminato, Adachi Museum of Art, Asahimachi. It was one of the cities I would like to visit again, touching on the kindness and warmth of the city. At the time of the local preview last fall, we had a discussion with four artists, and this time we decided to share a common theme. The work that blends into the landscape does not reject people, but interacts with people, and people can sit, lie down, hug, and experience the warmth of stones. I decided to set up a work that would be integrated with. The Yumejiri-zu (Yume series) produced this time is a work that has been carving the buttocks with stones for 30 years. The Kamo River, where it is installed, is also located in Kyoto, and although the scenery, water quality, and flow are different, I felt it was very close to me. In such a scene, the beds and pillows that should be in the room and the round, plump and smooth buttocks are placed on the side of the road. It is a sculpture of a scene that reproduces the scenery of Kyoto's home in Yonago. Looking back on the 45 days of production under the scorching sun, I feel like "45 days in Yonago in the midst of youth." Every day I was taught, eating, drinking, laughing, laughing, talking, exchanging opinions, talking, exchanging opinions, aiming only for perfection, just shaking fleas, polishing stones, and just like being away from the world without digging into my face. Not only was I blessed with good writers, staff, assistants, executive committee members, and volunteers, but I was also exposed to the humanity of the local people, and such a fun symposium was a lifelong treasure for me. I heard that the Yonago Sculpture Symposium is a new basic plan based on a long-term perspective of the public and private sectors as part of the city's city planning, and aims to aim for a sculpture road that connects the Kamogawa Green Park promenade to the sea as a cultural project. We are here. However, there may be cases where the sculptures are set up under administrative guidance. If you hold a sculpture symposium and set up only the works, you can smell the culture and that's fine. I would like to ask the executive committee members and the government to discuss well and create the most important place that is loved by the citizens and the environment that the citizens can be proud of. I have formed a group called Kyoto Art Council with my friends, and with the slogan of human gusset art, I am working to protect and further develop Kyoto with the theme of "creating a bright city with art". That's because everyone loves Kyoto. Now, I can see the faces of each person I met in Yonago. I love YONAGO Fall 1998 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] 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

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] ㉒ Gravitation HIDEKI OHI Born in Yamaguchi Prefecture 1960- [About the work] It is a work that aims not to make you feel the "weight" of stone for a moment. I hope that various images can be created by placing two stones in pairs. [Production] '98 Yonago Sculpture Symposium [Session] July 18th -August 30th , 1996 [After the '98 Yonago Sculpture Symposium] Gravitation means gravity. "The moment the foal stands up immediately after birth, the appearance of plants germinating and growing from the ground, and the" energy to life "common to many archaeological sites built by humankind. The force that opposes gravity. Reconstruct the power that is inherent in each of them, and express it as a form that is rooted in the earth. " I have continued to produce with the above concept. This time, the work produced by Yonago is a work that aims to face the gravity and not to make you feel the gravity. It's a moment when a stone rooted in the ground seems to forget its weight and rise. Two works made of natural stones were set up in a position where they attracted each other, and the same stones were placed around them to express them as one place. I hope that you can feel the energy even when the citizens take a walk. The 44 days in Yonago have been the most exciting days I will never forget. Every event and every encounter was fun and meaningful as if it had been organized by someone from the beginning. We would like to thank all the people involved in the symposium, including the Yonago Sculpture Symposium Secretariat. Last but not least, I would like to thank Jesse Souzbury, Hideo Motoike, and the creator of Motoike for their great cooperation in the production of my work. Thank you from the bottom of my heart. October 1998 in Barcelona Return to photo

国内外の彫刻家を招き、1988年から2006年まで隔年で開催された米子彫刻シンポジウムで制作された36体の彫刻は、米子市文化ホールから湊山公園までの新加茂川沿いの遊歩道約3キロにわたり設置されています。米子彫刻ロードは「美しい日本の歩きたくなるみち500選」のひとつとして選ばれるほど美しく、情緒に満ちています。 [Title of work] ⑱ OFFERING Robert SINDORF Born in the Netherlands 1951- [About the work] The word "offering" means the act of offering, as well as the spiritual world, God, or the universe. It also includes the mysterious communication given to unknown reality. This is my personal offering as a positive element of my life and a gesture of goodwill between America and Japan. The image is based on a circle. The circle is a perfect harmony, it has no beginning or end. It is a symbol of the sun, heaven, perfection, and the cycle of life, a peaceful image. Part of this circle is like a person's arm extending towards the sky. It hugs the universe and dedicates itself to the sky. The stones that are part of the earth are eternal. And the offering is also eternal. [Production] '96 Yonago Sculpture Symposium [Session] July 13 -August 25 , 1996 [After the '96 Yonago Sculpture Symposium] I learned about this symposium three years ago when I attended the "Iwate International Symposium" and met Mr. Ida. As a sculptor and architect, his work was very interesting because it reminded me of the ancient cities I had seen in South America and Africa before. After that, while looking at the catalog of Yonago's symposium that I received from him, I also wanted to participate. Fortunately, I was invited to this year's symposium, and I was able to meet Mr. Ida again, and made a visit to the strange land "Tottori Prefecture", which was only mentioned in my guidebook. Even better, I realized my desire to use locally produced basalt, which Isamu Guchi used effectively. It was a lot of fun during the production period in Yonago. The production venue is in a wonderful location, and thanks to the breeze from Nakaumi, I was able to work under the scorching sun. I didn't expect to continue working every day without resting so much, but other sculptors seemed to enjoy it too. It is often a social time from the evening, and Mr. Funakoshi, Mr. Matsumoto, and Mr. Adachi tried to have a good time, and I was able to fully enjoy these 6 weeks with everyone. I myself was pondering the idea of stones and works. I also received advice from other sculptors, including Mr. Ida and Mr. Motoike, regarding the undecided details. Many people "participated" in my work. This is what the symposium should be. Sculptors often work alone, but it was also meaningful to receive comments from other sculptors and visitors who visited the production venue one after another. This is the most wonderful gift I received in Yonago. If I could "dedicate" my feelings to Yonago through my work "offering", I wouldn't be more than happy. At the party, I felt a strong connection with Yonago. I am especially grateful to Mr. Tomomatsu for his friendship. I would like to come back to Yonago someday. Return to photo

国内外の彫刻家を招き、1988年から2006年まで隔年で開催された米子彫刻シンポジウムで制作された36体の彫刻は、米子市文化ホールから湊山公園までの新加茂川沿いの遊歩道約3キロにわたり設置されています。米子彫刻ロードは「美しい日本の歩きたくなるみち500選」のひとつとして選ばれるほど美しく、情緒に満ちています。 [Title] ⑧ Summer / Wind Poetry HIROSHI SUDO Born in Kochi prefecture 1948-2015 [About the work] On a hot summer day, the boy stopped playing in the wind swaying the green leaves and watched the deep blue shining sky and the slowly flowing white clouds. The sweat on my forehead shone again and fell off. The red circular stone formed the boy's summer memories as the sun and summer, the red stone crossed the wind ... [Production] '90 Yonago Sculpture Symposium [Session] July 29-August 31, 1990 [Participating in the '90 Yonago Sculpture Symposium] The taste of Yonago and Asahimachi It was July 28th that I arrived at the blue sky and green carp Yonago, which is just called Sanin. I was prepared, but in front of my rough stone, which is close to 6 tons, the dream of sightseeing in Tottori was about to disappear, but if human beings were in need, there was a time of night. .. The symposium has passed for a week, the stones have changed a little, and the symposium (sake banquet) of the two parts of the writers has disappeared. Then I came up with a night sightseeing. The place where three or two men look good is Asahimachi. When I noticed, I became a person in Asahi-cho on the 4th or 3rd. With each drink of water, the hard feelings of the daytime and the trouble of stone powder will be solved and flowed. Also, the accounting is conscientious, and my bosom is grateful. Mama-san, the boss who stopped by once every time. Thank you for taking care of me for a month. In addition, the landlady of Kintei was very welcome and made good memories of Yonago. It seems that the water that I used to drink wasn't special mineral water at any of the stores, but it tastes pretty good and the living water is good. In terms of taste, I was a little inexperienced and unsatisfied with being able to become "warigo soba" and "zaru soba" in the Kanto region. Yoneko Ryuishi was not defeated by my Tosa countryside. It wasn't winter, and I wanted to do my homework with crabs, find time, and go on a sightseeing trip in winter. 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] 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] ⑮ Yonago Gate (Tor in YONAGO) ODA SCHOELLER Born in Germany 1959- [About the work] Der moderne Mensch stent weder rechts noch links er geht! (Schweizer Philosoph) Modern people go on. Neither right nor left (Swiss philosopher) Tore verbinden eine Seite mit der anderen ein Kommen und Gehen woher-wohin? egal, nur der Schritt zahlt! Oda Schoeller The gates are tied together. Where does one and the other come and go? But it doesn't matter, just one step is important! [Production] '94 Yonago Sculpture Symposium [Session] July 16 -August 28 , 1994 [After the '94 Yonago Sculpture Symposium] I was very pleased that the symposium commission had the courage to invite foreign writers. Because that decision poses many problems, such as unfamiliar languages, other habits, and different ways of working. But that is the challenge of the symposium. A symposium is about learning about and exchanging with other people, other habits, and other ways of working. That's why it's important to work with a foreign sculptor. Thank you for this time. Yonago's symposium was a very good experience. Return to photo