• Hulls of the moon

    Stainless steel

    48×320×42 cm (×3P)
    100 kg (1P)

  • Heaven to Earth … water’s edge 2003

    Granite

    136×185×105 cm
    3000 kg

    I installed a private fountain, to limit one of the fundamental drives of the various plants in this place. I started last year when I saw kudzu vines completely covering everything like a dynamic membrane.

  • Green Domes

    Wood, Bamboo, Grass, Mud

    50×50 m

    In the case of good group work, the artwork is able to have a power to move people. When every member of the group, full of energy, do their best at their own position, the power becomes huge which is far beyond the one artist can do.

  • water meets land

    Aluminum

    230×1000×160 cm
    300 kg

    I chose a place where land and water come together. The surface of the water changes in many ways with clear weather, cloud, rain, strong winds, downpours and sun, and energy aggregates and vibrates at the waterside. I wanted to build something to prove the existence of that energy.

  • The Japanese nuclear armament

    Iron, Sand

    600×720×130 cm

  • “trans -“

    Marble

    60×170×60 cm
    800 kg

  • TsuchikutteMushikutteShibui

    Granite

    80×80×170 cm
    600 kg

  • Ring · Ring · Ring

    Stainless steel

    150×180×300 cm
    50 kg

  • Absorbed filtered sunlight

    Ceramics

    105×265×72 cm
    500 kg

  • UNIT 2003 W.B.M

    UNIT 2003 W.B.M

    White granite, Black granite, Marble

    18×34×200 cm (×3P)

    Weeds were growing on the land, and various old utensils were scattered around the barn. The inside of the storehouse had grown into a bamboo grove.
    I placed my UNIT in this space, which had lost its owner.

  • Falling Water-Kanba no Taki Fall

    Gelatin silver print, Acryl, Aluminum, Stainless steel

    2×106×180 cm

  • IZUMI

    Black granite

    132.5×85×100 cm

  • The alley like a maze

    Iron

    700×200×160 cm
    2000 kg

  • Tsuki-iro no toki

    Iron (H-type steel)

    30×1400×90 cm
    2550 kg

  • It is or not

    Granite

    300×50×150 cm
    600 kg

  • COVER’03

    White granite

    300×1000×30 cm
    5000 kg

  • Seal of the time

    Andesite

    140×170×110 cm
    2500 kg

    When I think about beginnings and ends of things, I’m keen to know where I am right now. While all sorts of thoughts turn over and over, like human evolution, the future of the earth and my own life, I can gain peace of mind by encapsulating the current point in time in Amabiki.

  • A Way Toward the Sacred Place

    Cement

    2600×45×30 cm

    Going through Amabiki Village, one notices the large and small shrines all around. Entering a shrine, one is isolated from the hubbub of the everyday and enfolded in an extraordinary tranquility. That is a thousand-year memory that will be inscribed within me, a moment called into being across time and space. The human world and the realm of the gods are revealed in an arrow-straight road existing as a link between this bank and the other side.

  • Color of the wind in the mid stream of memory

    Wood, L-steel

    504×504×20 cm
    1500 kg

  • Work 03-84

    Sand stone, Concrete

    280×180×32 cm

  • AUN

    Granite

    80×30×50 cm (×2P)
    400 kg (1P)

    I tried placed guardian dogs by a lonely-looking shrine, taking a hint from the English letters “U” and “N”.
    It feels something like “this shrine is under our protection”.

  • Weighing the Earth (USHIRONOSHYOUMEN)

    Stone

    80×100×60 cm
    1030 kg

    5P. Size and weight are about the largest stone.
    “Stone as the object of speculation”
    While I walked round and round a stone, I noticed that what I wanted to check was not just the inside and the surface of the stone, but also what was around it. I thought I wanted to look out from inside the stone at the changing seasons, and at the expressions of the scenery and the people.

  • Ama Cyo To Sato Biki No Koku

    Plaster, Wood, Cement, Stone, Tinplate, Iron

    1000×1000×180 cm (8P)
    900 kg (8P)

    If I take a really good look at the society I am involved with, particularly artistic society, I find many things that are interesting. I’m going to think about the title. Its fun to think that if the “characters” of the title are the work, or if the “thing” that was the work becomes the title, the distinction between them will disappear.

  • Stage of Gods

    Acacia, Oak, Magnolia

    270×280×500 cm
    1500 kg

    A stage of chair on the open land in Ohkunitama of Yamato Village. I am drawn by trees as material, and I have spent a long time using the methods of sculpture? carving, cutting, polishing, assembling, forming and so on? to express their fate in sculptures. But I should add planting to that list of tasks. I really want this relationship to be a beautiful one.

  • Hyousou to Kyoukai

    White granite

    92×96×132 cm
    3150 kg

  • Situation

    Granite

    380×400×35 cm
    1000 kg

  • Where dose this wind blow?

    Granite

    100×350×84 cm
    1800 kg

  • Slit in cube

    Black granite, Concrete, Iron

    120×90×111 cm

    2700 kg

  • Naked’03-IV

    Marble

    135×96×96 cm
    1500 kg

    Humans are living beings who learn. We don’t expect to suffer by committing the same mistake twice. In whatever we do, we achieve dramatic improvements. Humans are creatures who learn. Or so you’d think? ? ?.
    * “IV” in the art work name means the fourth of the Roman numerals.

  • Dawn-II · RUTEN (All things are in state of flux)

    Marble

    145×60×183 cm
    2000 kg
    * “II” in the art work name means the second of the Roman numerals.

  • Pieces and radius of graind stone

    White granite

    85×320×235 cm
    4000 kg

  • One day, on one occacion

    Wood

    110×210×140 cm 80 kg
    90×90×90 cm 30 kg

    Something happened.

  • Figure of plants

    Zelkova

    35×200×90 cm
    60×90×40 cm

    People offer one another raw walnuts in Germany at the start of fall. I brought a few uneaten ones home and planted them in the garden beside my studio. The following year, after I had forgotten about them, some shoots came up that looked right. When I had forgotten again, I glanced there and saw half the hard walnut shell rolling around at the bottom of the stalk. I borrowed the strength of the giant zelkova tree to express the form of that bud.

  • Bousyu

    Stones in 140 bags, 400 trees of the acorn

    20×30×0.5 m
    about 4.2t

    I thought the creation of this sculpture should mainly consist of digging stones out of the fields. I made my relationship with that place one of finding my time and materials there, and then spending them there. Rather than using the stones and objects (a seedling from an acorn) I dug up as materials for a sculpture, I thought I could use their appearance itself, and the act of having dug them up, as the form. Apparently acorns grow by about this much a year.

  • Pagoda

    Log, Brick, Steel pipe

    400×400×1200 cm
    3000 kg

    I always start my work by getting a read on the atmosphere of the place.
    I’d like to put something up in one corner of a copse with Mt. Tsukuba in the background in the misty distance to draw the spirit of heaven to earth.
    My sculpture could be an object drawing the spirit of heaven near, like the weather of Amabiki (literally “Rain-Drawing) Village.
    I want to make a tower-shaped sculpture with the image of gathering rain.
    My hope is to have some big thing here, something that can be sensed by not seen.

  • The Tower of Amabiki

    Bronze, Stone

    80×80×250 cm
    1500 kg

    Since childhood, I have liked to go into the woods to play. When I walk round the forest, I sometimes see natural sculptures formed over years by sun, wind and water, and I am always amazed by their weird shapes. This piece is formed by nature, with just a little input from me.

  • Stone Like Frame-DEPTH

    White granite

    112×129×111 cm
    1700 kg

  • INSIDE FORM CU-GM

    Black granite

    90×90×90 cm
    about 400 kg

  • After That 03-08

    Ceramic

    156×180×185 cm 500 kg
    90×130×156 cm 350 kg

    A rusted, empty can tells of time and space that once came to a halt. This is a pig barn, like an alien space, which I found in Amabiki. In this place, where even life stopped and silence continued, I dig out a new time and space, and secretively create movement.

  • 3 (or like a small tree-house)

    Aluminum, Stainless steel

    15-20×15-30×10(h)cm (×60P)
    0.47kg (1P)

    Leaving the path through the rice fields and moving into the copse, a strange feeling came over me that it would go on forever. Surrounded by trees, as if I had seen something frightening, part of me wanted to go deeper into the heart of the forest. I placed 60 pieces, all variations on a form comprising three square aluminum pipes, dotted among the trees. To move around the forest, in a dialog with its trees. They became rather like little houses atop the trees.

  • A-032

    Ceramics

    255×230×135 cm
    900 kg

  • Heat haze

    Black granite

    17×87×232 cm

  • A CRESCENT

    Iron, Lava, Wire rope

    450×450×760 cm
    2500 kg

    The space inside the arch of a crescent moon has a mystical attraction.
    Suspending a meteorite (lava) in that space and reflecting the drama of space in a calm water surface added to the appeal of that environment.

  • Latent Spirits of Trees In The Village

    Wood, Stainless steel, Manila-hemp rope, Carbon steel

    120×120×400 cm 2500 kg
    120×490×145 cm 2200 kg
    Installation size changeable

    The day I first visited this place, I felt it was an isolated space, despite the bright and open lie of the land. Standing on a road between fallow fields and a bamboo grove, I noticed that all I could see in the distance were the mountains far beyond, and the blue sky. In that moment I had an intense illusion of being surrounded by these cultivated hillsides. I thought “I want to make sculptures here”.

  • Two large stones

    Black granite

    180×130×120 cm
    I want to hold in my memory the fact that there were two stones in this place in Yamato Village.