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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] 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

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

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] ⑪ Precipitation of light RYOSUKE KOBAYASHI Born in Nagano prefecture 1946- [About the work] The phenomenon of me is the blue lighting of one of the hypothesized organic AC lamps. It is said that the aurora emits light when the particles of the solar wind collide with the magnetic field of the earth. Where does the star, and the life looking up at it, come from and disappear? Even in this moment when I feel shining, the light is quiet and deep, and sometimes it may continue to settle while shivering. All these propositions are asserted in the Fourth Extension as the nature of the mind and time itself. (From the introduction of Kenji Miyazawa's poetry collection "Spring and Shura") [Production] '92 Yonago Sculpture Symposium [Session] July 19 -August 27 , 1992 [Participating in the '92 Yonago Sculpture Symposium] I love yonago When I received an invitation to the symposium in early November last year, I pulled out a map of Japan and searched for the location of Yonago City. Growing up in the basin of Shinshu Azumino surrounded by the mountains of the Northern Alps, I have autism, which is the home of my production, and his land in the distant San'in region has never been on my map. .. I woke up from a nap at Oyama SA for 10 hours in the heavy rain that foretold the end of the rainy season, and the city of Yonago breathed quietly and slowly in the faint sunrise sunlight from the clouds mixed with light rain. The scene I was doing is still vividly remembered. At this symposium, I felt that the aspects of the seemingly reckless attempt, which had already been pointed out in the second session, which relied purely on volunteers and donations, came to the fore. In particular, I think that every day of the staff was like walking a tightrope, fighting anxiety, tension, doubts, and their own lives. And I was thrilled by the care and enthusiasm of not showing us the painful kitchen to us. However, the symposium's theme, "Meeting and Contact," was the only reason why all the productions were digested so smoothly that we were able to expand each world to the city of Yonago without injury or illness. Under this ambition, we hope that the next symposium will overcome various barriers, become the core of Yonago's urban development, and become the driving force for exploring and realizing the future of Yonago. Many citizens visited the site with interest. One afternoon when the session was running out, I can't forget the back view of the silver-haired lady who said, "Please love Yonago, too." Thank you to all of Yonago for all the wonderful "encounters and contacts". Return to photo

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

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。 What is Yonago Sculpture Road? Yonago Sculpture Symposium 19 Years of History and "Yonago, a City with Sculptures" In 1988, the Yonago Sculpture Symposium was held for the first time in the San'in region under the initiative of a private sector, which is rare in Japan. After that, sculptors from Japan and abroad were invited to the Yonago Sculpture Symposium, which was held every other year until 2006. It was a novel event that took more than a month to show the production process. The 36 sculptures produced during this period are installed along the promenade along the Shin-Kamo River for about 3 kilometers from Yonago City Cultural Hall to Minatoyama Park. If you take a walk while looking at and touching each sculpture, you will be in Minatoyama Park in no time. If you turn back the course and walk again, the sculptures show different expressions depending on the viewing angle. The course from Sculpture Road to Yonago Shitamachi along the Kamo River is so beautiful and full of emotion that it has been selected as one of the 500 Beautiful Roads in Japan Walk. Yonago Sculpture Symposium Trajectory 1988 88'Yonago Sculpture Symposium (1st) Date: July 19th-August 31st, 1988 Meeting place: Minatoyama Park, Yonago City (near the boathouse) Production theme: "Wind and waves" Author: Yoichi Shimizu / Ichiro Shintani / Shintaro Nakaoka / Ryoichi Hayashi / Keiji Yamaya Installation location: Around Kaike Onsen / Around Higashiyama Park / Around Yonago City Hall 1990 90'Yonago Sculpture Symposium (2nd) Date: July 29-August 31, 1990 Meeting place: Minatoyama Park, Yonago City (near Yonago City Children's Culture Center) Production theme: "Encounter / Fureai" Author: Katsumi Ide / Toru Suzuki / Hiroshi Sudo / Ryota Mori Installation location: Around Yonago City Cultural Hall 1992 92'Yonago Sculpture Symposium (3rd) Date: July 19-August 27, 1992 Meeting place: Minatoyama Park, Yonago City (near Yonago City Children's Culture Center) Production theme: "Encounter / Fureai" Author: Ryosuke Kobayashi / Ryo Sakai / Sakae Terada / Toru Yokoyama Installation location: Around Yonago City Cultural Hall 1994 94'Yonago Sculpture Symposium (4th) Date: July 16-August 28, 1994 Meeting place: Minatoyama Park, Yonago City (near the boathouse) Production theme: "Encounter / Fureai" Author: Oda Shoreer / Takeshi Tanaka / Kenji Tomita / Yoshiharu Maekawa Installation location: Yonago Convention Center Around the Big Ship 1996 96'Yonago Sculpture Symposium (5th) Date: July 13th-August 25th, 1996 Meeting place: Minatoyama Park, Yonago City (near the boathouse) Production theme: "Encounter / Fureai" Author: Keiji Ujiie / Hideo Tosaka / Keiichiro Momose / Robert Sindorf Installation location: Around Shinkamogawa 1998 98'Yonago Sculpture Symposium (6th) Date: July 18th-August 30th, 1998 Meeting place: Minatoyama Park, Yonago City (near the boathouse) Production theme: "Encounter / Fureai" Author: Hidenori Oi / Atsushi Okamoto / Jean-Francois DEMEURE / Hiroshi Yabuuchi Installation location: Around Shinkamogawa 2000 2000 Yonago Sculpture Symposium (7th) Date: July 22nd-August 30th, 2000 Meeting place: Minatoyama Park, Yonago City (near the boathouse) Production theme: "Encounter / Fureai" Author: Tanaka et al./Yoshio Nishikawa / Hiroshi Hayashi / Shingo Murai Installation location: Shinkamogawa / Nakaumi area 2002 2002 Yonago Sculpture Symposium (8th) Date: July 13th-August 25th, 2002 Meeting place: Minatoyama Park, Yonago City (near the boathouse) Production theme: "Encounter / Fureai" Author: Hidetoshi Takahama / Fumio Nishimura / Nami Hishida / Kazuyoshi Hirai Installation location: Around Nakaumi 2004 2004 Yonago Sculpture Symposium (9th) Date: July 17-August 28, 2004 Meeting place: Parking lot in Minatoyama Park, Yonago City Production theme: "Encounter / Fureai" Author: Hiroki Chikada / Kazuko Saito / Koichi Nagano / Kazuhiko Nishimaki Installation location: Shinkamogawa / Nakaumi area 2006 2006 Yonago Sculpture Symposium (10th) Date: July 15th-August 26th, 2006 Meeting place: Parking lot in Minatoyama Park, Yonago City Production theme: "Encounter / Fureai" Author: Nobuyuki Akechi / Hiroshi Iwama / Kei Sazen / Hideki Fujita Installation location: Around Yonago Station

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] 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] ⑲ Landscape buds KEIJI UJIIE Born in Gunma prefecture 1951- [About the work] Unlike the places where sculptures were installed so far, the promenade on the riverbed has a warm location that makes you feel the original scenery of Yonago, with old-fashioned private houses and a series of mountains on the opposite bank. In such a scene, I thought about a work that would be the bud of future town development. [Production] '96 Yonago Sculpture Symposium [Session] July 13 -August 25 , 1996 [After the '96 Yonago Sculpture Symposium] Yonago, a city where landscapes sprout The bud of the scenery is the title of the work I made at this symposium, but the scenery was sprouting in various places in the city of Yonago. Not only the nature around Yumigahama's coastline, Shiroyama, and Oyama, but also the various towns I meet every day while riding a bicycle, the buds of the scenery I think of were about to sprout. However, unfortunately, I also encountered a place where the buds of the landscape that was about to sprout had died. It is the place that forms the center of the city and is also visited by many people. While I was in the United States, I was asked several times about my impression of the city of Yonago, but I answered that I am now in a foreign country. That's because people's lifestyles were really rich, centered on the city and Nakaumi. I felt that the relationship between culture and nature, which is lost in today's Japan, which is centered on a big city, and the identity of human life are very well done. The part that I'm sorry about earlier is the part that doesn't make me feel it. A foreign country may be a living space that Japan should have originally, including the culture of the back alleys like Asahi Town. The current progress of Japanese cities is so unusual that it makes us want to grasp such a paradoxical thing. What impressed me about my life in Yonago was the connection between people and the sea. The promenade along the Nakaumi near the venue where the fireworks and the basketball party were held, starting with the citizen regatta, is the place I loved most except for a certain point. The connection between the people of Yonago and the sea is enviable for me, who is trying to find the meaning of work in that people and the environment are connected by a relationship similar to love. I heard that the park promenade on the edge of the Shinkamo River, where we installed the work, will lead to the sea in the future, and we plan to install sculptures there, but it is an excellent place to have the function of connecting people and the environment. I hope that it will become. If the environment is the principle of the symposium, where we drink together, eat together, talk together, and create together, we can create a city that tends to be promoted by the government as a living space for people to live in. .. Currently, art installation projects are being actively carried out in various places, but in order for environment creation and artwork to truly collaborate, it is necessary to remove various frames. Art does not help in the way of bidding and consulting-based business. I think you could understand at this symposium that not all artists have their own way of thinking. We are the best partners who can always live and create with the environment. I am looking forward to seeing you again with gratitude for Yonago's nature, culture and people. '96 .9.14 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] ② Clouds go HIROSHI IWAMA Born in Toyama prefecture 1956- [About the work] When I visited the installation site in March to select stones, I thought that the size of the planning was not enough. You need the size of the content, but you also need the actual size. When I consulted with Chairman Tomomatsu, who accompanied me, he said, "I think so too." Then go straight to Mr. Sanseki, a stone material. Mr. Nagasawa will be the partner. I searched for granite at first, but it didn't come out very well. I think I was looking for something decisive. I met a serpentine there. The stone, which would have come to this area from Greece long ago, was pale and even awesome, coupled with the overall volume. Mr. Nagasawa said to himself, who was spinning around the stone, "If you can make a good work, you can use it." I thought "I did it". Thank you. Carving a stone that has never been carved means finding a different self. It may look the same, but it's a little different. Searching for unknown things beyond what you know in the interaction with the material. How far can you go? It was the beginning of a thrilling and enjoyable time. Summer is coming and the actual production. Because it is a standing shape, I want to stand it up and carve it, but considering time and other restrictions, I lie down and roll it to form a shape. Believing that there is always a shape that cannot be carved upright from the beginning. And when it comes up, I take in what I can take in, break what needs to be repaired, feel a large space, and cut more in order to stand up. I hoped that my breathing and rhythm at the time of production would be transmitted as it is. When the work leaves the author's hands, he walks alone and embarks on a journey of time with his own destiny. It's a work that was born from meeting many warm people while breathing in the air of Yonago and feeling the clouds and mountains, so I hope you can take a breath in the light and wind of the four seasons. ing. [Production] 2006 Yonago Sculpture Symposium [Session] July 15 -August 26 , 2006 [Message from the writer] In the fall, my face, which was tanned in black, is finally returning to its original state, and I miss the symposium. The four members who love work were not injured, had no accidents, did not have to take holidays, and were able to devote themselves to the production, and each of them was able to make their best work by coming to the venue. Thanks to the passion and warm support of many people, volunteers who really improved, Chairman Tomomatsu, the executive committee, and the people involved. Thank you from the bottom of my heart. I often heard from senior sculptors and friends who participated in the event that Yonago's symposium was good. I feel that I really understood the meaning of the word when I came by myself. The system for accepting participating artists, which has probably been established over and over again. Volunteers who take turns taking care of us every day regardless of the weather. And the number of people. The members of the executive committee had regular meetings and meetings during the session. The people in charge of the foundation and installation also spared no effort and visited the meetings over and over again. Mr. Onishi, the director of the installation site, and other staff members of the prefecture often came to see us and consulted about various locations. Chairman Tomomatsu came to the venue every day by bicycle on both rainy and hot days. With a stretched posture that doesn't make you feel old at all, I can't say much, but he gives me a humorous and loving word every day. I bought a new straw hat because I was about to get a doctor's stop because I was a little bit sick of it. We apologize for the inconvenience. There were many precious encounters and contacts that I couldn't write. The symposium is at a crossroads, but I believe that the connections between people and the wealth of our hearts that have been cultivated through the ten symposiums will never disappear. Rather, I think it has the fate of propagation. I think the hardships of the executive committee and everyone involved are tough, but I look forward to new developments after the tenth session. Miho Bay, Yumigahama, Nakaumi, and Oyama were beautiful and magnificent. Also, I thought that each name was suitable and beautiful. When it comes to Oyama, the eyes of Yonago people shine brighter. I thought it would be nice if the words of the land that weren't covered were warm. I would like to meet again with Yonago, who loves nature and loves art, culture and people. 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] Hermit crab KAZUHIKO NISHIMAKI Born in Kanagawa prefecture 1959- [About the work] It is a work with the theme of the sea and the motif of hermit crab. Even though it is called the sea, Japan's territory is surrounded by the sea on all sides, and there are various characteristics depending on the land. In participating this time, I asked my friends and seniors about the environment and climate of Yonago from the map, and by actually visiting them, I warmed up the concrete image of the work. I created this work with the image of the sea, such as the calmness of Nakaumi and the cradle where fish leave their nests. Adjacent to the sea, it is also an installation location where you can see the work and the sea at the same time. This was a great pleasure for me. I hope that my work will continue to live with the citizens in this place like a lighthouse, sooth the viewers, have dialogues, and create various stories every day. [Production] 2004 Yonago Sculpture Symposium [Session] July 17 -August 28 , 2004 [Participating in the Yonago Sculpture Symposium] It is said that it was the help of Chairman Tomomatsu, the secretariat, the executive committee members, and the volunteers who were able to successfully complete the 43-day session and set up the work. Not even. It was a very hot summer this year, but my atelier is in a more harsh condition (under the scorching sun, no tent). Perhaps it was good to work in such an environment, it seems that it was a good training for production under different circumstances like this time, and it was a paradise for me. I think there is nothing more happy for a writer who can spend his energy only on producing, with the kindness and cooperation of the people around him, such as eating and washing. So what can I give back to the people who support me and those who visit every day? That is, not only the work, but also how much energy a person named Nishimaki faces the stone every day to create the work. I wondered if it would be a good idea to see and feel the process of going, and I intend to spend every day with the determination to put out everything I have in the last 43 days. When I recall now, I was working so much that I wondered how long I slept in the hotel. When I was a kid, when I went to catch insects in the summer, I spent every day resembling the feeling of being sowed and excited from the dim light. As the word "encounter / contact" suggests, I was able to meet and communicate with many people, including encounters with other participating artists. During the day, I was surrounded by the kindness of the volunteers, and at night, I was surrounded by the kindness of the people of Asahi-cho, and it was a wonderful environment day and night. This is my number one treasure. We would like to take this opportunity to thank all the local residents' associations for their warm support and understanding in setting up the work. Also, as one of the participating artists, I strongly hope that this symposium will be more rooted in the community and will continue in the future. And I sincerely hope that my work will be loved and loved by the citizens for a long time from the land of Hadano, Kanagawa Prefecture. Fall 2004 Return to photo