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[Title of work] ③ Hippotamus NOBUYUKI AKECHI Born in Tokyo ​ 1963- ​[About the work] I made a hippo sculpture in front of Yonago station with a basalt called Yakumo Chokuroishi from Shimane prefecture next door. The yellow part on the surface of the stone is the same expression as it was dug out of the soil. While making the best use of the shape of the rough stone, I expressed a hippo watching everyone's way back and forth in front of Yonago station. The water place where the hippo lives prospers abundantly, and it seems that various creatures gather. We hope that this "hippo" will become a new meeting place for Yonago and will be a guide for Yonago, a "town with sculptures." [Production] 2006 Yonago Sculpture Symposium ​ [Session] July 15 -August 26 , 2006 [Message from the writer] ​ 3/16: For a symposium meeting, head to the meeting place while watching the sculpture road with Yonago on the sleeper limited express Sanrai cloud. 3/17: On the way back, I got on the last train of "Izumo" (an orange diesel car pulls the blue train) (pride) 4/28: I went to Yonago again to see the basalt in Shimane prefecture that I had been looking for to make a "hippo". I made a model of a hippo to match the stone. 7/14: Arrived at Yonago with a lot of luggage in the car 7/15: The opening ceremony is sunny and reminded that "the game is in July" 7/16: Record heavy rain for about a week from this day 8/1: It's August, so when I was thinking "Is the game until yesterday?" 8 / 4-6: Fureai Sculpture Class Everyone did their best with Mr. Chikada, the previous participating artist, as the main instructor. In the sculpture class, I tried to keep my hands out as much as possible, but in the last 30 minutes I carved it completely. "Kevin-kun" I'm sorry. Kevin carved the back of his head with the nickname of the head statue. 8/21: There were various things, but since the "hippo" was the best glue and the truck in front of Yonago station could not enter, everyone pushed and moved using the "coro", and the hippo proceeded with the sled in front of the Yonago station. .. 8/25: Citizen's Forum Many people came from far away. 8/26: Closing Ceremony For the first time, you can see the work that perfected the scenery. 8/27: When I was taking a picture with a sword, I was asked "Which Wagyu is this?" Umm?. It has been said for a long time that "the symposium is until I get home," but it was August 30th if I had made various detours. And now, I'm writing this with the feeling of an elementary school student collecting homework for the summer vacation. Thank you for participating in the 10th Yonago Sculpture Symposium. I think I had various encounters every time, but I am grateful that I participated this time and had many encounters unique to this time. The place I could put it, the work, the stones I met, and the many people I met were the best. I just got to know Yonago for the first time this time. We look forward to your continued support with the sculptures. Return to photo

[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

[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

[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

[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

[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

[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

[Title of work] ㉟ At the time of eyes KOICHI NAGANO Born in Hokkaido ​ 1954- ​[About the work] My work is installed next to the sidewalk near the entrance to Minatoyama Park. At the preview meeting in late February, when I first visited Yonago, the artists discussed the planned four installation locations and decided on their own installation locations. There is a tall old tree near my place of installation. What will the work of this Yonago Sculpture Symposium look like? I devised a plan in Hokkaido while considering the selected stone and the space of the installation location. "Retina", "projection", "crossing", "drops of memory", "beat", "amplitude", "band of light", "active", "passive", and "conversion" There are "buried", "expression", "scene", "play", "transparency", "unstable shadow", "ambiguity", "provocative", and "smell". Many things are happening around us. The theme of this work is to stare at it. Three stones are placed. The stone in the center represents the eyes of reality and the eyes of the heart. The stones at both ends represent the past and future. I hope that it will become a work that fits nicely into the town of Yonago. [Production] 2004 Yonago Sculpture Symposium​ [Session] July 17 -August 28 , 2004 [Participating in the Yonago Sculpture Symposium] On the night of July 13, my ferry left the quay of Otaru and set out on a voyage. I finally realized that I was going to participate in the 2004 Yonago Sculpture Symposium. It was the night of July 14th that the ferry arrived in Maizuru, feeling the temperature gradually rising as I decided to go south on the Sea of Japan. On the morning of July 15th, I drove on the highway in fine weather and entered Yonago in the early afternoon. hot. The final inspection of tools such as air tools to bring and consumables such as cutter blades and loading into the car started one week before departure. I knew about the Yonago Sculpture Symposium for a long time, so I was hoping that one day I would be able to carve stones with Yonago. I am very honored to participate this time. I first visited Yonago at the preview meeting held in late February. The calm appearance of Yonago's town gave me a sense of security even though I visited for the first time. At the preview meeting, we confirmed the installation location and decided the location, and selected the stone to be used at the stone dealer. After returning to Hokkaido, I examined how to make the best use of the space of the installation site to install the sculpture. Production started on July 17th. According to local Yonago people, it seems to be hotter than usual this year, and by the way, the temperature of the Minatoyama Park parking lot at the production site was rising early in the morning. The days of making the electric fan prepared by the secretariat at full throttle continued. The production venue was visited by locals and other people from afar, and it was one of the pleasures to meet and talk with them. Volunteers took care of us throughout the session. "We writers can comfortably produce delicious homemade dishes, coffee and cold drinks during breaks, and washing work clothes such as shirts and trousers full of stone powder. Thank you for your attention. I also had a chance to loosen my shoulders. Thank you. There were three other writers who participated in this symposium, but I was taught a lot about the production method and the way of thinking about sculpture. There was a lot of sculpture during the session. Still, I was able to touch the sand at the famous Tottori Sand Dunes and had some time to relax at some hot springs. We enjoyed the taste of local seafood and meat, with the executive committee members feasting at home and the secretariat taking us to a delicious restaurant. The work was successfully installed thanks to the warm support of the mayor, executive committee members, secretariat, volunteers, traders, and other related parties. Thank you from the bottom of my heart. My work is installed beside the sidewalk at the entrance of Minatoyama Park. Please feel free to touch it. Among the children who participated in the sculpture class and made sculptures with stones, there may be people who will be responsible for the future culture of Yonago. I'm looking forward to it. Return to photo

[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

[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

[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

[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