• Juka ni tsudou

    Granite, Stainless steel

    120×500×190 cm
    220 kg


  • Shelter ½

    White granite

    70×180×50 cm (×4)
    total 3000 kg


  • South cylinder

    Black granite, Concrete


    97×97×110 cm
    1720 kg


    The flow of the river, rice paddies, fields, houses and plant life is in a uniformly north-south direction. I felt as if they were moving north to south, imperceptibly and slowly, in the same way as the air density. The physical problem with the work I planned to put here I could visualize, so it was more important to make a form that would take in the surroundings, take them in and let them flow out.


  • Binding

    Black granite

    110×120×180 cm
    6000 kg

    If the surface is the place on the edge between existence and non-existence, which distinguishes object from space, an untouched stone can be seen as comprising superimposed surfaces, and depending on how you look at it, the surface is the moment between existence and nothingness. When the stone is placed in a space, we can assume it exists when we look at its mass, but if we suppose that the stone is a space, we can imagine that the instantaneous space in which the stone and the outside touch is like the edge of space. Maybe it is not possible to talk about the space and objective reality determined by human knowledge as separated things.


  • Stone

    Stone – No.7

    Black granite

    85×110×20 cm 300 kg

    Haneda Shinto shrine

    Stone – No.2

    Black granite

    63×81×98 cm 550 kg

    Aoki Shinto shrine

    Stone – No.4

    Black granite

    63×98×68 cm 450 kg

    Takamori Shinto shrine
    The place: Light/ sound/ wind/ odor/ cold air/ transparency/ polarized light/ flickering/ darkness
    horizontal/ vertical/ rising/ falling/ pressure/ weight/ multiple/ refraction/ temperature/ vacuum
    cause and effect/ near and far/ farmers/ superstition/ forgetting/ past/ wetland/ countryside/ temple grounds/ children
    Oxidation/ shadow/ intake/ ash/ polishing/ haze/ sap/ corpse/ mica/ quartz/ granite
    mad dog/ barley/ steam engine/ verdigris/ breath/ humus/ asphyxia/ dream/ dying/ supreme/ perfect
    East west north south/ spring summer fall winter/ time and space/ stillness/ cloud/ water/ moon/ insubstantiality/ stone/ tiny motion.


  • Chair of God

    Zelkova

    250×240×450 cm
    2500 kg


  • UNIT-9910 A.LB. s1/1 ri

    UNIT-9910 A.LB. s1/1 ri

    White granite, Unhulled rice

    194.5×86×45.866 cm
    1000 kg

    I named my piece “Unit”, meaning the basic form beyond which it cannot be broken down further.
    ‘A.LB’ is an important abbreviation for the concept which led to this form. ‘s1/1’ is the scale, meaning that this work is actual size.
    ‘ri’ is an abbreviation for the thing that is stored inside, which, on this occasion, is one bale of unhulled rice.
    I do not think the space in which the unit is installed is important. Whether it’s in a thicket, like this time, or plopped down in the middle of a city crowded with people, or rolling around on a family’s dinner table, or standing alongside the Anne Frank house in Amsterdam, or buried in grass on the African savannah…
    I could call it an object like the monolith envisioned by Stanley Kubrick.
    But it’s not as overpowering as the monolith.


  • EXHUBITION OF AMABUKI VILLAGE AND SCULPTURE visitor’s rest area provided by FUJIMOTO REST AREA ORGANIZATION

    White Fifty chairs, Woods, White lacquer

    Chair 43×40×73 cm (×50P)
    Chair 5.5 kg

    I make things, I show them to people, and that opens up communication.
    I enjoy those things as I carry on with “creation”.
    Even if I am not aware of the distinction, that “creation” may be divided between “art” and “non-art”. Thinking about from an economic perspective, things that seem to be only natural seem to become necessities, and in other areas there are still things I can’t understand.
    In this Amabiki Village and Sculpture exhibition, I took that as my theme, and I believe I was able to express the area around that boundary between what is art and what is not.


  • GONGEN

    Iron, Aluminum

    80×2000×120 cm
    60 kg

    In modern times, art is taking the place of religion in bringing transcendent experiences to people. For example, sculpture is a device through which people can see and feel things that are not physically present. With the forest as the stage, I want to unveil stories that can be read and interpreted in many ways.


  • REBIRTH FIELD

    Scraps of motorcycle, water heater, and the others.

    1000×3000×100 cm
    500 kg

    The materials for this piece are components of broken-down machines, broken water boilers, discarded cycle parts and the like. It is my job to take things that this world has finished with and give them new life in a new world.


  • “TANUKI-JIZO” for “KUNI”

    Black granite

    70×150×80 cm
    1000 kg

    People’s eyes, things happening in the world, the earth, I notice all kinds of things.
    But I think it is good to have things around that we don’t notice, but just naturally accept. The things that I always knew existed by never really minded are becoming fewer, little by little.
    I want to make things that people don’t care about.


  • Altar of Rain

    Bricks, Logs

    600×600×800 cm
    750 kg

    I was amazed by the number of holding ponds around Amabiki Village.
    In rice-growing regions, water itself is a gift that leads to life.
    I felt the hardship of the way modern culture is heading, denying the direct link between nature and life.
    I wanted to create an abode for the gods in order to call for rain.


  • Big Petals / Moku gu

    Big Petals

    Kiri wood (Paulownia wood)

    200×60×40 cm
    180×130×40 cm

    Moku gu

    Camphor tree

    112×90×120 cm


  • HALF WATER

    Black granite, Water

    120×120×67 cm
    2500 kg


  • Where dose this water flow?

    Granite

    120×135×128 cm
    2400 kg


  • Pachamama

    Stone

    295×400×70 cm
    1200 kg


  • From the other side

    Ceramics

    63×72×41cm
    50 kg

    Finding a haven

    Ceramics

    179×141×36 cm
    280 kg


  • In the Sunlight through the Trees I

    Brass

    220×130×70 cm
    20 kg

    In the Sunlight through the Trees II

    Brass

    180×185×62 cm
    25 kg

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


  • Bio – Bridge – A proposal to The 21st century

    Iron, Drums (stainless steel), Fluorescent paint, Artificial ecology reef, Black light

    800×800×450 cm
    750 kg

    This piece floats on the water surface. There is an artificial habitat reef beneath the surface, which is purifying the water.
    The shape supported by the buoyancy of the metal drums stores energy from ultraviolet rays and releases it as light after dark, shining like the breath of creatures in the dark of night, and moving slowly with the wind and waves.
    It is a proposal to the 21st century for the formation of environments.


  • GIFT

    Marble, Rope

    60×120×55 cm
    800 kg


  • Palse story

    Black granite, White marble

    300×300×130 cm
    1000 kg


  • Sky to Earth · · · (Monument)

    Granite

    125×125×132 cm
    6200 kg

    Looking at the structures built by humans on the earth, I am often amazed by the power of science and civilization, but when I consider the phenomena that occur on a global scale (climatic events, subterranean movements, etc.) and the energy that drives them, I am keenly aware of humanity’s powerlessness. Sometimes we forget the blessings of the earth, stand against it and head towards excessive development and destruction. I take the position that humans should work with nature so that when we take energy from nature, we return it. I think the same about “Sky to Earth · · · (Nonument)” in this place.


  • Madaminusekaini

    Granite (black, yellow)

    A 110×120×120 cm 700 kg
    B 110×140×90 cm 600 kg
    C 110×140×115 cm 700 kg


  • The flowers of south wind

    Granite

    200×250×80 cm
    1000 kg

    What was your feeling on seeing this work,
    inspired by lavishly blossoming flowers that have withstood wind and rain,
    and even the strong sun and heat of the tropics?


  • Stone like Frame

    White granite

    100×140×290 cm
    3000 kg


  • BE A PYRAMID-GH-1

    Granite

    130×170×120 cm
    2300 kg


  • Rover 99-5

    Iron

    101×158×122 cm
    500 kg


  • Years

    Steel

    150×150×270 cm
    350 kg


  • Getting use to horizontal space

    Teakwood

    120×413×200 cm
    120 kg

    I placed my sculpture in the middle of a soybean field.
    When you join National road 125, which leaves flat Tsukuba City and heads for Yamato Village, the land forms many gentle rises, and you can see Mt. Tsukuba ahead. It gives the feeling that you have penetrated into the depths of Mt. Tsukuba. Standing in the expanse of soybean fields, your gaze is naturally drawn to the far ridges, and you seem to be enfolded in the sound of the wind, the fragrance of trees, people’s lives and many other diverse phenomena. As a part of the scenery, the sculpture can be seen as the presence of a formattable “artificial nature”, within an expanded frame. It is my hope that the sculpture, standing in this place, with Mt. Tsukuba in the background, and having no physical surfaces, will be reconstructed by the gaze of all who see it.


  • Ark

    Iron

    300×350×300 cm
    2000 kg


  • MIDORI

    Granite

    98×102×100 cm
    1800 kg

    Quiet, quiet village fall
    Facing the scenery
    Something is renewed
    However far
    However long
    I felt
    I wanted to keep walking.


  • HIKARU MORI

    Forest, Cloth, Spirits

    3700 m2∼

    Dear silent forest,
    we give you some words.
    Members of Group · RA:
    AOKI Saori, AKIYAMA Gen, AKIYAMA Michie, AKIYAMA Yukihiro, AKUTSU Etsuko, ADACHI Siori, ADACHI Nobusuke, ADACHI Yoshie, IIJIMA Ai, IIJIMA Souichi, IIJIMA Takuya, IIJIMA Masami, IIDA Yusaku, IKEDA Kazuko, IKEDA Noriko, IKEDA Fumiaki, ICHIHARA Kazuko, INABA Youko, UNO Kazuko, EBISAWA Atsushi, EBISAWA Shizue, ENDO Isamu, OHKUBO Yoshimi, OHKUBO Sayaka, OGURA Takao, OMI Kaori, KANAZAWA Ryusei, KURIHARA Yuki, KOBAYASHI Akio, KOBAYASHI Takuma, KOBAYASHI Tokuo, KOMINE Aki, KOMINE Kei, KOMINE Takashi, KOMINE Tsuyoshi, KOMINE Yuu, KOMINE Rieko, SAJI Masahiro, SATO Takeshi, SATO Toshie, SATO Mariko, SATO Yasumasa, SHIOYA Katsuko, SHIOYA Toshiyuki, SUZUKI Shouzou, SUZUKI Katsunaga, SUZUKI Takahito, SUZUKI Souma, SUZUKI Kouichi, SUZUKI Minako, SUZIKI Naoki, SUZUKI Hideo, TAKEKOSHI Hidekazu, TOMIYAMA Shinichi, TOMIYAMA Narumi, TOMIYAMA Ria, NOBUSHIMA Takao, FUJITA Ikuyo, FUJITA Tomomi, FUJITA Nozomi, FUJITA Hiroki, MASUBUCHI Chieko, MACHI Kiiko, MINAKAWA Mayumi, and Roland SASCE.
    Cooperators:
    ADACHI Ryujiro, SHIOYA Toshiyuki, TOYO Bouseki Co.Ltd., TORAY Co. Ltd., NIHON SEKIHAN Co. Ltd., YASUDA Stone Co., and YANAKA Stone Co.


  • THREE GODS

    Stone

    250×100×310 cm
    4500 kg

    A long time before a long time ago, this land was a region (space) of rest and quiet…
    The Yamato “God of the mirror” is worshipped at the place where Mt. Tsukuba can be seen in its front exposure, with large bottles dedicated in front of the holy shrine.
    In a corner of the copse, it is talking about “living” with all living things, including the soil.
    With the God of Wind in the second exhibition, and the God of Earth in this one, I am trying to carry on a dialog with all things.