• KUNIYASU Takamasa

    CAREER1957
    Bron in Hokkaido, JAPAN
    1981
    Hokkaido University of Education B.E.
    1983
    University of Tsukuba M.A.
    EXHIBITIONS2011
    AMABIKI 2011 In the midst of winter. Sakuragawa, Ibaraki (’08/ ’06/ ’03/ ’01/ ’99)
    2009
    Art session Tsukuba 2009. Tsukuba, Ibaraki
    2008
    Architectural Ceramics – Old. Clayarch Gimhae Museum, Gimhae, KOREA
    2007
    One Person Exhibition. Gallery HIRAWATA, Fujisawa, Kanagawa
    One Person Exhibition. The Art Core, Kanaz Forest of Creation, Awara, Fukui
    KAMIKATSU-ART Project. Kamikatsu, Tokushima
    Art session Tsukuba 2007. Tsukuba, Ibaraki
    2006
    One Person Exhibition. Gallery Natsuka, Tokyo
    ECHIGO-TSUMARI ART TRIENNIAL 2006. Matsudai Shiro-yama Park, Niigata
    2002
    One Person Exhibition. Muramatsu Gallery, Tokyo
    One Person Exhibition. MACA GALLERY, Tokyo
    2000
    Summer at Töölönlahti Bay Art Garden HELSINKI 2000-Cultural Capital of Europe. Töölönlahti Bay Park, Helsinki, FINLAND
    ECHIGO-TSUMARI ART TRIENNIAL 2000. Matsudai Shiro-yama Park, Niigata
    1999
    The 30th Anniversary Exhibition “Forms in Nature”. The Hakone Open-Air-Museum, Kanagawa
    The 18th Exhibition of Japanese Contemporary Sculpture. The Municipal Open-Air Museum, Ube, Yamaguchi. [Grand Prize, Kanagawa prefectual Museum of Modern Art Prize, and Citizens’ Prize]
    1997
    Le Japon Mondt-de-Marsan Sculptures. Despiau-Wlerick Museum, Mont-de-Marsan, FRANCE
    International Art Exhibition “INSUDE”. Central park, Kassel, GERMANY
    1993
    Lillehammer Olympic culture Program “Cultual Landscape AKERSVIKA”. The Lakeside of AKERSVIKA in Hamer, NORWAY
    1990
    A Primal Spirit:Ten Contemporary Japanese Sculptors. Los Angeles County Museum, U.S.A/ Museum of Contemporary Art, Chicago, U.S.A/ Modern Art Museum of Fort Worth, U.S.A/ National Museum of Canada, Ottawa, CANADA
    The 4th Australian Sculpture Triennial. National Gallary of Victoria, Melbourne, AUSTRALIA
    1989
    The 13th Exhibition of Japanese Contemporary Sculpture. The Municipal Open-Air Museum, Ube, Yamaguchi
    1988
    Aomori EXPO’88 Commemorative Open-air Sculpture Exhibition. Gappo-park, Aomori. [Grand Prize]

  • Nest 2022

    Logs, Blocks, Steel Pipes
    500×500×450(h)cm

  • Nest at Mt. Haneta

    Logs, Ceramic Blocks, Steel Pipes
    800×600×800(h)cm

  • Kodama-Kodama

    Twigs

    φ30cm×8(pieces),φ75cm×1(pieces)

  • Dragon Pagoda AMABIKI 2013

    Log, Ceramic block, Steel pipe

    2,000×1,000×1,600 (h)cm

    Taking a serene stroll around the Amabiki village gives me a sense of spirit and being in a blessed place.
    I feel the Amabiki spirits here at the location of the 2013 exhibition, and this place will always hold a special place in my heart.
    It is my hope that you will view this place and my sculpture as one.

  • 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.

  • Flowers

    Log, Brick, Steel pipe

    800×800×200 (h)cm x2 pieces

    By visiting Amabiki many times, one can understand those things that change and those that do not.
    There are unchanging things amid those that are transient, and those that do not move on eventually disappear.
    I want to gaze quietly upon the things that do not change, and be taken in by transient existence.
    Nothing will remain, and nothing can remain.
    After a long enough time of circulation and repetition, there is no one thing that I am satisfied with.

  • Dragon Pagoda 2006

    Logs, Ceramic blocks, Steel pipes

    800×1000×1600 (h)cm

    Seen from the south-facing slope of Mt. Haneda, the beautiful, red sun is a striking sight as it sets to the west, beyond the fields and the rice paddies of Kanto Plain that stretches all the way to Mt. Fuji.
    In this rice-growing area at the edge of the mountains where the plains start, I wanted to build a tower for the dragon god as an effigy to protect the rain.
    My sculpture always embodies the wish to be touched by a great, invisible something.

  • 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.

  • Nymphaea

    Log, Brick, Rubber tube

    1100×1100×250 cm
    2000 kg

    Walking around the rice-growing area of Amabiki Village, one becomes aware that water is a gift that spins into life.
    The moment I saw the reservoir pool with Mt. Tsukuba behind it, I wanted to float my work there, like a flowering lotus.
    I wanted to create a work that, like a lotus, would represent the invisible cosmos between this world and the world beyond, the resting place.
    I wanted to see it with my own eyes and make it part of the scenery of Amabiki.

  • 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.