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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] ⑯ Phase YOSHIHARU MAEKAWA Born in Fukui prefecture 1955- [About the work] When sculpting outdoors, it is necessary to consider nature and exploration as one element, rather than constructing the elements that make up the swelling only in the work. I am wondering if there is a way to create a richer sense of scale and quality for both the work and the environment. "Phase" is to find what is deep inside from the shape that appears outside, but for the time being, I made it as a medium to look at myself. [Production] '94 Yonago Sculpture Symposium [Session] July 16 -August 28 , 1994 [After the '94 Yonago Sculpture Symposium] Dear Yonago, Thank you very much for your kindness during the symposium. It was a hot summer that I felt the passion of the people involved in the symposium, and I was able to spend a lot of meaningful time with the first foreign sculptor. We all hope to live in a rich and emotional city, and we are lightly wondering if art can play a role in it. When I think about how to achieve that, I don't have to worry about it, it's good, it's good, it's good, it's good. Yonago's symposium has reached a turning point this year. After the symposium, I hope that Yonago City will take the lead in how to develop the town in the future, and pray for the development unique to Yonago. When I stayed in Europe and Africa before, I learned about many cultures and lifestyles, and saw how humans are adapting to each, and I was impressed that the same person has such breadth and potential. I remember what I did. What I think about having the opportunity to work with a German sculptor at Yoneko this time is that we tend to have a one-sided view and way of thinking as Japanese people, but the spirit that is inherent in us personally. In order to satisfy the breadth of the work, I feel that there is a quick way to solve it by reconsidering one's actions from a different perspective and a different way of thinking. While writing this, I can think of the people who were taken care of by Yonago again. 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] 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] 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

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。 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] ⑭ seashore Festival TSUYOSHI TANAKA Born in Miyazaki prefecture 1951- [About the work] When spring comes, the rocky shore seems to be spring, and people can see the seaside creatures coming out and playing. This work is also a work that wants to express the interaction between people who want to do it at festivals and things that symbolize seaside creatures (similar to jellyfish), if it feels peaceful. I think. [Production] '94 Yonago Sculpture Symposium [Session] July 16 -August 28 , 1994 [After the '94 Yonago Sculpture Symposium] From Okayama, I took a train, talked about the drunken people and the natural environment, was struck by the appearance of Oyama, and got off at Yonago for the first time. After staying overnight, having a meeting, seeing the stones, and feeling on the return train, I thought I could do a good job. To be honest, I was tired for the first ten days. A word of "hot!" Even though I was born in a tropical country, I answered. Record heat, record tiredness for me, but work went smoothly, and it was the first Chinese stone I was dealing with. I think that this attempt using the was achieved to some extent. During the period, it was a quarry of Kimachi stone, Izumo Taisha, Mihonoseki, Mizuki Shigeru Road, and a day trip, but it was a learning experience. Also, when I was bathing in the 7th class, I was stabbed by a jellyfish, and I wondered if I was happy or angry with the jellyfish I made, but the water and clear scenery were good, and the sashimi It was good. It was a day to relieve my tiredness. I think that the last forum was also the most fruitful forum I had, as I could hear various opinions about the relationship between city planning and sculpture. Yonago also hopes that a comfortable town will be created in which people and the cityscape are in harmony with nature. It was a series of hot -----, but it was a good summer for watermelons. Also, I want to eat that watermelon. Thank you to everyone in Yonago. Return to photo

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

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。 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] ⑥ Cosmos Ryota Mori (RYOTA MORI) Born in Gunma prefecture 1952-1993 [About the work] The work is composed of round shapes. Maru is one of my favorite shapes. In nature, round shapes can be seen as suns, moons, water droplets, and even plants and animals as stem shapes and eyes. The work looks abstract, but if the circle also exists in nature, it can be called a concrete sculpture. Please enjoy the movement from various angles. Also, I polish it well so that the city of Yonago can be seen. I hope this work will catalyze the image of the citizens. [Production] '90 Yonago Sculpture Symposium [Session] July 29-August 31, 1990 [Participating in the '90 Yonago Sculpture Symposium] In Yonago's Shiroyama One day near the end of the symposium, I climbed Shiroyama, which was always in front of me. It's a mountain that looks like a small hill, but as I climbed the stone steps, I sweated from my body. Record heat continued every day this summer. Everyone was talking about taking a break from production when it rained, but due to this weather, I ended up heading to the production site every day. That's why I took a shower of UV rays instead of rain and got inflamed, so I took a rest under the roof of the site office for a day in a UV shelter instead of rain shelter. Except for the typhoon past the Bon Festival, it was produced in the midsummer sun, and it was probably the first experience for me to go out so much. Shiroyama didn't seem high to the eye, but when I climbed it, it responded to my feet. As I proceeded while wiping my sweat, I saw a stone wall. The masonry is precise and beautiful, and the enthusiasm of the masons at that time is conveyed. Unfortunately, the castle itself has not stopped its shape because it was destroyed in the early Meiji era, but the appearance of the stone wall reminds us of its appearance. When I stood on the ruins of a castle covered with summer grass, my view suddenly opened. Oyama rises to the right. It's a mountain with a very pure name. If you follow the gentle base, you will see the Sea of Japan. If you move your gaze to the left along the horizon, you will see Mihonoseki at the tip. From there, Yumigahama draws a smooth curve so that it sticks to the surface of the sea. Nature is soft. And, embraced by the father and mother of the nature, there is a town of Yonago under my eyes. The cityscape is spacious and open, probably because there aren't many tall buildings. The city always feels like breathing with nature. The sky feels very wide. The blue tent of the symposium was swaying in Minatoyama Park at my feet. I went down the mountain feeling happy that I could make a work in this town. Return to photo

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

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