• accumulation : a pile wood blossom

    F.R.P.

    R: 182×55×182 (h)cm
    L: 200×200×200 (h)cm

    The materials that are used in sculpture have their own diverse affairs and histories.
    The tree I used this time is a cherry tree from our home that we needed to cut down.
    For so long, our daily lives have passed in easy harmony with this tree, but now we will never see its beautiful blossoms again.
    Feeling a hard-hearted moment, I gather together everything from the trunk to the branches and show everything from the inside and the outside, to create a tree’s blossom.

  • sky to land (appearance in garden)

    Granite

    120×110×215 (h)cm

  • INSIDE FORM-10LS-CARPA

    Limestone

    79×73×146 (h)cm

    In my sculpture, I tried to leave a square stone form of outside while creating space and volume of free forms on the inside.
    My aim was to have balance between the geometric form of the exterior and the organic form of the interior, trying to emphasize that balance, coloring areas where I didn’t change, and left the carved parts in their original colors of the stone.

  • Dragon Pagoda 2011

    Log, Ceramic block, Steel pipe

    800×800×1,200 (h)cm

    Dusk comes early in North Kanto in the winter.
    How many days did I spend alone, gazing at the low, red sun?
    I was brought up at 30 below, so the Amabiki winter is mild and friendly to me.
    I wanted to build a dragon god here in the clear sky to watch over the fields.

  • Deep Water

    Japanese camphor

    600×650×700 (h)cm

    I looked up the sky from a place where water was deep.

  • Vortex Form ‘2011

    Iron

    R: 190×150×155(h)cm
    L: 170×160×150(h)cm

    Staring at a huge bird cage in a gazebo under a cherry blossom tree, I start to wonder whose it is, but in the next moment I realize that it doesn’t matter at all. Simply, it is a fact that I saw a bird flew away just now. A bird cage and I, we both remain standing as if nothing happened in the air.

  • The Stone Body V -KAIBUTSU-

    Black granite

    110×120×176 (h)cm

    I carve into the stone
    From that moment, the presence of the stone becomes increasingly vague
    As the stone takes in my strength
    Its mass dwindles
    Strength and time build up
    Indentations gather
    Eventually, the sum of them overflows and clusters together
    I think that’s when my work really begins
    I want to feel the presence of a stone that has begun to have its own body
    * “V” in the art work name means the fifth of the Roman numerals.

  • ONIMUSHI’s dreams

    Steel

    [90-120]x[90-120]x[50-60](h)cm x6pieces

    There was a women working on turning over the soil. Asked what she was doing she said “ONIMUSHI”.
    “ONIMUSHI?” Peeping into a bucket standing nearby, I saw a pile of the pale, translucent larvae of stag beetles.
    I was shocked for a moment. It was an erotic image, like the genitals of adolescent boys.
    Places where fallen leaves pile up are, for these larvae, like a warm and comfortable bed.
    That incident provided the motif for my current piece of work.
    “O-NI MU-SHI” sounds like “the devil bugs”.

  • Into my Skyward

    Gray granite

    160×160×235 (h)cm

  • Run after, Run away

    Aluminum, Wood post

    2,700×60×160 (h)cm

  • A-111

    Ceramic, Iron

    200×1,645×250 (h)cm

  • Pruning season

    White granite

    100×135×95 (h)cm

  • Tornado

    Aluminum

    a: 260×200×187 (h)cm
    b: 203×170×112 (h)cm

    When I am watching a whirlpool, I fear being drawn into it, like into a whirling current, a strong tornado and a crowd which is whirling around and around. I tap into these strong energies to create sculptures.

  • Venus

    Granite, Aluminum

    80×80×360 (h)cm

    Since childhood, I have enjoyed looking at the night sky. It makes me want to go beyond time and space and journey through limitless void. I feel I could get a sense of my own existence as a living organism… By sculpting a rocket, as the vehicle that can shorten the distance between myself and outerspace, I let my dreams fly with the spirit of a spaceman.

  • In a squatting position

    Ceramics

    1,450×680×37 (h)cm

  • crossroad

    Granite, Iron
    242×242×145 (h)cm


    The steel plate that split the stone still splits the space where the work stands and impinges directly on that space, giving just a little tension to the scenery I have looked at until now. The images changes further with time and position, and the scenes in my memory intersect.

  • Toward a place with light

    Wood, Marble flour, Natural light

    280×280×280 (h)cm
    42×240×400 (h)cm

    Now that winter is heading into spring, the strength of the sun waxes day by day, heralding the approach of a new season.
    Feeling the light of early spring with my entire body, I go walking straight ahead towards the hope that lies beyond it.
    When the light penetrates into this wood, my work is completed by that moment of light.

  • The walls in the six directions

    Black granite

    117×110×185 (h)cm

  • Interesting tree

    Andesite

    65×85×76 (h)cm
    95×90×80 (h)cm

    I filled a container with
    Things that bothered me
    Grew them into a tree
    And they stopped bothering me.

  • A bird flew out of a cage, Ms. Berg!

    Wood, Stainless steel mesh


    160×264×200 (h)cm


    Staring at a huge bird cage in a gazebo under a cherry blossom tree, I start to wonder whose it is, but in the next moment I realize that it doesn’t matter at all. Simply, it is a fact that I saw a bird flew away just now. A bird cage and I, we both remain standing as if nothing happened in the air.

  • Low grass

    Black granite

    650×95×25 (h)cm

  • forest 2011-Planet

    forest 2011-Planet

    Boulder stone, Andesite

    145×112×110 (h)cm
    110×43×75 (h)cm

    I use a pneumatic rock drill to make holes into the stone. Every one of those holes meets at the core of the stone. Each time a hard stone that was part of the planet is pierced by a hole, it starts to breathe. I am devoted to digging out the reborn form of the forest from inside the stone.

  • I stand on my hands

    Wood, Resin, Iron

    107.1×100×150 (h)cm
    175×95×215 (h)cm

    The point of this piece is to make people who aren’t good at standing on their hands do it anyway.
    Stretch both your arms up, and stand as if you are holding up the ceiling.
    I added a peephole to take pictures through.

  • winter bloomer

    White granite

    900×900×17 (h)cm

  • Observation Wheel

    Photograph

    110×90cm ×2pieces
    90×110cm ×1piece
    60×110cm ×4pieces

  • Black box is Color of Wind

    Ceramics, Iron, Stainless steel, Wood

    210×333×222 (h)cm

    This black box is a device to make “the color of the wind”. What color of wind do you like? Peep in through the gap, look from above and find “the color of the wind”. You’re sure to find your own “color of the wind”.

  • gravitational woods

    Steel, Water

    2,000×1,200×320(h)cm 5pieces

  • Tension. The wrapped wind.

    Wool, Rubber-cord, Pin

    1,000×800×500 (h)cm ×4pieces

    The fibers of sheep’s wool entangle and spread out to form a sheet of cloth, just like cells multiplying.
    If you wrap the soft, formless cloth about a pot, it takes the shape of the pot, and wrapped about your body, it takes your body’s shape.
    I want to take cloth that has the potential to turn into anything, and tug it, twist it, entangle it, and wrap it around the wind of Amabiki Village.

  • Sharing an evanescent time / Land marks to Rocky Flats from Los Alamos

    Steel, Sisal hemp rope

    L:180×160×500 (h)cm
    R:150×140×510 (h)cm
    Installation area flexible

    If you carefully look around the grounds of the Takaku Shrine, there are so many kinds of secondary shrines, large and small. They probably enshrine local deities, but I was told that nobody now knows when they were built, or why. What’s more, the fact that I created my sculpture here is one more thing that will vanish from human memory. At least, I want to share transient and precious time with our contemporaries.

  • Big roll paper

    Steel

    150×150×75 (h)cm ×4pieces

    Two years ago, I enlarged the form of toilet paper and exhibited it in a gallery. I made that shape much larger and changed the proportions to create my work. Lotus flowers bloom across the whole surface of the nearby pond in summer. There is not much connection between the sky, the woods and the toilet paper, but lined up, do they resemble bulky garbage?

  • Circulation-Extension and Intensive Magnitude

    White granite

    190×110×218 (h)cm

  • Water Lover

    Black granite

    160×25×115 (h)cm

    Working near the marsh recently inspired me to make a piece recalling water. While making it, I came to feel that I was sculpting an image of myself. I tried to open a window to my heart, for a better view.

  • Ceramic Cylinder for Images of Water Level

    Ceramics, Iron

    1,600×700cm (installation size)
    91×91×[104-210] (h)cm ×6pieces

    I stood six porcelain cylinders in the woods next to Ohgi-numa swamp. They form an image on the water surface between them, which depends on the water level. For example, one of the cylinders has, from the top, a circle, whitemountain saxifrage, the profile of a maiko’s face, a human fetus at four weeks, an ear, a snail, and the cross section of a rail.

  • GACHIRINKAN 1101 -Meditation Tunnel II-

    Granite

    100×6,000×120 (h)cm

    * “II” in the art work name means the second of the Roman numerals.

  • FORM

    Granite

    180×130×90 (h)cm

  • Fu-Ten

    Lacquer, Steel, Ramie cloth and others

    160×156×350 (h)cm
    160×280×139 (h)cm

  • reflections

    Stainless steel

    300×60×150 (h)cm

  • Triangulated Circle

    Stainless steel

    420×420×140 (h)cm

    Above the sky, the sun casts a light into the deep end of the thicket and brightens fallen leaves lying around my feet.The sunlight, which was hindered by exuberant green leaves in summer, penetrates every end of the thicket. The thicket in winter is filled with a light.

  • AMABIKI

    Steel

    box: 100×100×200 (h)cm
    quadratic prism: 15×15×907 (l)cm
    part of underground: 115 (d)cm

  • BLACK SOLID 1101

    Black granite

    86×66×258 (h)cm

    Tropopause of 1.29m above the ground.

  • FIELD OF MEMORY 2011-UFU

    Mixed media

    70×87×167 (h)cm

  • AMABIKIDON

    White granite, Wood

    400×350×120 (h)cm