
Granite, Stainless steel
120×500×190 cm
220 kg
Granite, Stainless steel
120×500×190 cm
220 kg
White granite
70×180×50 cm (×4)
total 3000 kg
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.
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 – 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.
Zelkova
250×240×450 cm
2500 kg
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.
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.
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.
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.
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.
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
Kiri wood (Paulownia wood)
200×60×40 cm
180×130×40 cm
Moku gu
Camphor tree
112×90×120 cm
Black granite, Water
120×120×67 cm
2500 kg
Granite
120×135×128 cm
2400 kg
Stone
295×400×70 cm
1200 kg
Ceramics
63×72×41cm
50 kg
Finding a haven
Ceramics
179×141×36 cm
280 kg
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.
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.
Marble, Rope
60×120×55 cm
800 kg
Black granite, White marble
300×300×130 cm
1000 kg
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.
Granite (black, yellow)
A 110×120×120 cm 700 kg
B 110×140×90 cm 600 kg
C 110×140×115 cm 700 kg
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?
White granite
100×140×290 cm
3000 kg
Granite
130×170×120 cm
2300 kg
Iron
101×158×122 cm
500 kg
Steel
150×150×270 cm
350 kg
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.
Iron
300×350×300 cm
2000 kg
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.
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.
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.