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

国内外の彫刻家を招き、1988年から2006年まで隔年で開催された米子彫刻シンポジウムで制作された36体の彫刻は、米子市文化ホールから湊山公園までの新加茂川沿いの遊歩道約3キロにわたり設置されています。米子彫刻ロードは「美しい日本の歩きたくなるみち500選」のひとつとして選ばれるほど美しく、情緒に満ちています。 [Title of work] 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] ⑳Mound KEICHIRO MOMOSE Born in Nagano prefecture 1950- [About the work] When I first visited Yonago, I was impressed by the spacious and gentle mountains and the spacious sea. The mountain-shaped work of the "Mound" series, which I had been working on in a small studio in a building in New York for a long time, and the image of the scenery of this place fit perfectly, and I got the opportunity to make it here. I felt more than just a coincidence. When I actually started making it, I met the people who made it possible for me to make it here, and realized how many people are supporting this symposium. I am convinced that this one and a half month experience in Yonago will be a part of my life and will be a great foundation for my future life as a writer. [Production] '96 Yonago Sculpture Symposium [Session] July 13 -August 25 , 1996 [After the '96 Yonago Sculpture Symposium] Yonago, the legend of Ryugu Castle ... the mythical world ... It was in mid-July that Yonago landed in Yonago, where the heat is getting hotter every day. Two days before the symposium begins. I started the production in an environment surrounded by nature, such as mountains with a lot of greenery, the coast with pine forests where the bright summer sunshine shines, and the Nakaumi and beautiful coves shining in the setting sun. It was the first time in 15 years to produce in Japan, so I encountered various difficulties on the way. Production within a limited time was a big pressure for me, who is always non-spiritual and self-paced, but I was able to continue production as planned with the help of the artists participating in the symposium and the planning committee members. .. The theme of the work is the "Tsuka Series", which has been going on for a long time, and it has a shape reminiscent of the mountains of Yonago, which has a roundness like a bowl, and Shiroyama, where the castle used to be. The landscape with mountains shaped like a burial mound and the appearance of mountains with many bamboo forests are reminiscent of the original landscape of Japanese mythology. As a Japanese artist in New York, I continue to pursue my origins, and I feel that it is no coincidence that I was able to place my work in Yonago, where the beautiful old-fashioned nature remains. do. On the day when the sculpture shaped like a mountain made by stacking stones called slate was completed, we asked three children and four adults who were there to carve the 1996 record on the stone. I put it inside and made it a memorial. By the time the children grow up and become fathers, we writers and symposium officials may no longer be in the world. But perhaps the 1996 record will remain in their hearts forever. With that in mind, I finished stacking the last stones. After the symposium, the day before I left Yonago, I was able to have a quiet time by staying in a place overlooking the Sea of Japan. When I was sitting toward the rough sea in the evening, a houseboat about 5 meters long made by combining bamboo was rushed to me. It must have been used for some event somewhere. The next day, when I was looking at the sea at the same place early in the morning, this time the fish were jumping all over the sea as if they were flying in the sky. Two hours passed while being stunned, and when I noticed, Oyama, who had a faint purple color, clearly appeared in front of the morning sun. It was a mysterious sight. It seemed to me that I was in the world of Japanese mythology. On the way back from Yonago, I got a lot of souvenirs from the princesses. The most important of these is the Tamatebako. What exactly is inside? Urashima Taro couldn't keep his promise with Otohime and opened the Tamatebako and became a grandfather. What's wrong? It's not a lesson from Taro Urashima, but it's not a bad way to live as you grow older without opening the Tamatebako, keeping your promise with Otohime. Brooklyn winter 96 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] ㉔ Stone drops for Issa Jean-Francois DEMEURE Born in Civray, France 1946- [About the work] Social sculpture This work is a communication space that connects people and gives poetry to passers-by, reminiscent of the scenery of the suburbs or the scenery of the distant. Not just to be seen The people who gather there are also part of the sculpture. On the top of the table, Kobayashi Issa's phrase, "Warabeya, who picks up the dew ball and sees it," is engraved in various languages, including Japanese, French, and Arabic. The surface is bordered by the handprints of Yonago citizens, and the handprints are probably dew-filled. Six stools are arranged around the oval table. One is painted red (reminiscent of the color of the torii) The other five are carved in different shapes with different types of granite. These shapes are taken from the "ground ring, water ring, fire ring, wind ring, sky ring" of the Gorinto. [Production] '98 Yonago Sculpture Symposium [Session] July 18th -August 30th , 1998 [Pillow grass (abstract)] Claire / Hanako & Jean-Francois DDEMEURE (thanks to Sei Shonagon) (Excerpt) Minatoyama specialty = toll tax. White ducks force people to feed every morning as they pass by the waters of Minatoyama. Tired = insect bites after climbing the ruins of a castle. What illuminates the heart = The heartfelt dedication of all the volunteers. People's interest in our work. An incomparable thing = a small step like rubbing the ground of a Japanese woman. The sound of insects that can be heard in the city. Meaningful = Leave a green place along the Kamo River for people, not cars. Comfortable things = Kaike Onsen, which I couldn't go to. Good things = ・ Gift wrapping. A woman who puts her hand on her mouth and laughs. Annoying = heavy rain just before the barbecue party. What you hear differently = The voice of a friend who greets you with tears on the last day. Unpleasant thing = still hot and humid. Things that fill your heart with loneliness = dissolution of the production team. And farewell to Yonago. The most beautiful thing in the world = Shoji Ueda "Upside-down Daisen" reflected on the wall of the pool and camera room of the Museum of Photography. Scary things = dark and noisy toads. Enviable thing = rowing a boat on the surface of the middle sea in the calm tranquility of dawn and sunset. What I definitely want to say = The friendship that I have fostered with the people I met in Japan and the fact that I keep holding the best memories in my heart. 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。 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] 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] ⑤ Journey of the heart, starry sky BUEMON SUZUKI Born in Chiba prefecture 1949-2014 [About the work] When the earth is 150 million kilometers away from the sun, the birth of life is 3.5 billion years ago, the players of the Silk Road, Kenji Miyazawa's view of the universe, etc. I thought. Also, create a sculpture. What is the unstoppable, unstoppable thing that crumbles bring to your heart? Twenty years ago, in front of the parthenon gable sculpture I met at the British Museum in England, I felt like an obsession for eternity in exchange for the life of an ancient man. I felt that if even a piece of the act of creation remains, a human spell will be left behind in something that will be weathered and crumbled, and that it will be a strict business trip to the modern space. [Production] '90 Yonago Sculpture Symposium [Session] July 29-August 31, 1990 [Participating in the '90 Yonago Sculpture Symposium] Impression of Yonago Thank you for inviting us to the Yonago Symposium. It was a week late for my private use, but I had a fulfilling time. I am deeply grateful to all the staff, and now that the session is over, I am reminded, deeply moved, and impressed. Yonago was blessed with good hot water, good environment, and seafood, and I was able to enjoy a lot of fresh fish, seaweed, and sashimi. Both rice and water were really delicious. However, what we must not forget about Yonago this time is the "humanity of the people" that has been nurtured and cultivated in that climate. It's simple, strong, deep and warm. For me, who was busy with the cluttered life of Tokyo, I felt at ease like an oasis. It was a time when my poor heart was embraced in the big foot of Oyama and saved. Also, I was able to work hard on the production comfortably. thank you. Yonago, everyone. Return to photo