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[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

[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

[Title of work] ㉞ Rice legend KAZUYOSHI HIRAI Born in Saitama prefecture ​ 1958- ​[About the work] When I made it with Yonago this time, I was thinking of making it with children and rice, but I don't know much about the rice I eat every day. Rice is a versatile food that can be eaten if cooked, powdered into powder, processed food such as rice crackers, and fermented into sake, but I saw it at the beginning of the process of growing it. There was no. When I got rice and various kinds of rice from a farmer I knew and a rice shop to check the difference in shape, and when I dipped it in water and observed it, I was impressed by the vitality as if I woke up from sleep. Now that rice cultivation from the Yayoi period and human activities before that have continued forever. It was a legend in the United States that it would be a good opportunity to stop and think about what it was like in the past as the birthrate declined and the birthrate declined, and what it would be good to continue in the future. [Production] 2002 Yonago Sculpture Symposium​ [Session] July 13th -August 25th , 2002 [Participating in the Yonago Sculpture Symposium] I first participated in the sculpture symposium 21 years ago. I had a very good experience by making big stones that students couldn't buy in a short period of time and interacting with the participants. Therefore, I was very happy to have Yonago call me this time. At the preview in November last year, the installation location was in the neighboring Minatoyama Park, so I decided to make something with a certain height. Everyone wanted to put it in a large place, and after sharing it twice with the Amida lottery, it became the third choice place, and the next day, they took me to a stone dealer to search for rough stones. I met and ordered only one white granite whose shape was visible in the stone. Then, around June, the city's Culture Division sent me a production plan, and the rough stone arrived at the production site, but I was informed that it wouldn't move anymore because it was an odd size. I started drawing. I entered Yonago with anxiety about whether I could do it in 40 days with an esquis that could be made while lying down. After the opening ceremony, it was a difficult start because it could be rolled with a resident 3-ton forklift or it got stuck due to a key failure during the trial, and it could not be removed from the rough stone. It wasn't a welcome party, but I felt the welcome and expectations of the people in the city, and after drinking alcohol, I decided to start working positively, saying, "Something will happen! Let's do it from where we can." I asked Mr. Nakata, who is in charge of the city, to lease a 10-ton hydraulic jack with claws, and I was able to move the rough stone, so I knew that it could be close to the shape I originally imagined, and I carved it from the relief on the top. In addition, I changed from Esquis to lighter and concentrated on the work from morning till dark. Also, when I checked the installation location with the people involved in the city, I was planning to put it at Mr. Hishida's place, even though it was decided last year, and I realized that I was the only one, and my head became blank. I hurriedly searched for another place and asked if it could be changed to an open place that was not included in this year, and I was happy to decide on a suitable place like no other. When the rough carving is finished to the weight that can be moved with a forklift, the work can be done while standing upright, so the writer, the superintendent of education and the staff who were present can help and build stones, and the tent is also high. did. In addition, I borrowed a board that would be a bullet and a scaffolding board from Mr. Nakata's house, assembled it with the help of the staff, made the roof of the vertical, and produced it while being blown by a pleasant breeze at the height where the Nakaumi can be seen. Was done. At the time of the grindstone work, I asked the college students and the secretariat to help me, and at the request of the citizens, I put the stones destined to be abandoned, which were made by roughing, near the work. I feel like I've done more work than I had planned, but this is also the volunteers, the secretariat, the executive committee, the people who visited the venue, and the three people who worked together. I think it was created by everyone with cooperation and encouragement. Also, I am glad that I was invited to many events and entertainment and soaked in the hot springs. I'm really thankful to you. Return to photo

[Title of work] ⑮ Yonago Gate (Tor in YONAGO) ODA SCHOELLER Born in Germany ​ 1959- ​[About the work] Der moderne Mensch stent weder rechts noch links er geht! (Schweizer Philosoph) Modern people go on. Neither right nor left (Swiss philosopher) Tore verbinden eine Seite mit der anderen ein Kommen und Gehen woher-wohin? egal, nur der Schritt zahlt! Oda Schoeller The gates are tied together. Where does one and the other come and go? But it doesn't matter, just one step is important! [Production] '94 Yonago Sculpture Symposium ​ [Session] July 16 -August 28 , 1994 [After the '94 Yonago Sculpture Symposium] ​ I was very pleased that the symposium commission had the courage to invite foreign writers. Because that decision poses many problems, such as unfamiliar languages, other habits, and different ways of working. But that is the challenge of the symposium. A symposium is about learning about and exchanging with other people, other habits, and other ways of working. That's why it's important to work with a foreign sculptor. Thank you for this time. Yonago's symposium was a very good experience. Return to photo

[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

[Title of work]㉛Talk NAMI HISHIDA Born in Tokyo ​ 1965- ​[About the work] Stones have existed since the birth of the earth we live in. From a wide variety of stones, meet your favorite stone and create an image of your work. The stone itself has a strong power and shines powerfully. I would like to make something that makes the most of that presence. With a little modification by me, a new breath is blown into the stone and it becomes a powerful work. My work consists of a broken surface and a cut surface. When you break a stone, it doesn't break as planned as you did in the beginning. The stone itself breaks in the direction you want to break. The shape created by chance from there is the most beautiful and natural shape like the stone. By polishing the cut surface, the beauty of the split surface is made more prominent. It's an abstract form, but I gave it the title "Talking" and arranged the four stones as if they were talking, while keeping a little space between the stones. I would be happy if people who come to see this work can have fun talking with each other. [Production] 2002 Yonago Sculpture Symposium​ [Session] July 13th -August 25th , 2002 [Participating in the Yonago Sculpture Symposium] It was my first time to come to the Chugoku region, and I came to Yonago without knowing the positional relationship between Tottori and Shimane prefectures. Previously, the writers who participated in Yonago Sculpture Symbodium heard that Yonago is a very good place and even a "girl" is okay, so I wanted to make a work here someday. I'm really happy to be able to participate in this symbolium, I had the feeling that I had to finish the work in 40 days anyway, and my head was always full of work. Originally, I was weak in the morning, but every day I went to the venue early in the morning and worked on the production with a refreshing feeling while feeling the breeze from the sea. The other three writers are older and more experienced than me, so I learned a lot from the new discoveries I had, such as how to proceed and how to work. I usually make it without being conscious of myself being a woman, but at the opening ceremony, Mayor Morita said, "Yonago is a woman-friendly land." I thought he was a "girl" and felt a little happy. Volunteers also took care of the sunburn on their skin and gave them cosmetics, which made me feel better. I was able to concentrate on making the work because he took care that if I wanted ice cream or juice, it would arrive immediately. Production in an unfamiliar land can be tense and confusing, but the people of Yonago and the land sometimes unraveled all of them. The calm cityscape was also nostalgic. Moreover, when it came to food, I wondered if the fish were so delicious. As I talked with various people, I gradually deepened my desire to leave good works in this area and to make works that are loved by everyone. I'm glad that the environment is good and I can create what I imagined. I feel that the work is completed only with the support of many people, not the power of myself. My work is installed under a pine tree, but since it is a walking path for people who come to the park, many people will see it. I hope that you will be familiar to people for many years to come. As the seasons change, the work will show a variety of expressions. When I came to Yonago, I touched on the importance of interacting with people and the warmth of my heart. I am grateful for the encounters with stones and people, and I would like to cherish Yonago as my treasure. Thank you very much. Return to photo

[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

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

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