私は今まで、おもに木を素材として漆を塗り顔料で彩色をした彫刻を作ってきました。
したがって素材の性質上、殆どの作品は屋内で個人的に鑑賞されることを前提としたものです。しかし学生時代に石彫をしていた頃、作品が雨に濡れたり日の光による影の移ろいの中で思わぬ表情を見せるのに驚いたことがありました。また数年前にある自治体の委託で制作した鉄板による折り紙細工のような20匹の犬たちを広い芝生いっぱいに並べた時の爽快さや、見学にやってきた子供たちがそれらにまたがって大騒ぎしていた様子を思い出すたび、野外や公共空間そして建築や街並みと融合した大きな仕事への欲求が、私のなかで押さえがたいものとなり、ブロンズを中心とした金属彫刻へと私を駆り立てました。この小冊子には、実際に公共空間に設置されたものだけではなく、ひとつの提案として芝生や池、川などで臨時に構成したものなども集めてみました。
昨今、おびただしい数の野外彫刻や立体造形物が街づくりや地域開発などの名目で街角や公共空間に設置されています。しかしそれらが、それを取り巻く人々にどれだけ親しまれ受け入れられているのかとなると私は大いに疑問を感じます。街の主役は街の人々であり公共の場は利用者のものであるはずです。ですから、そこに置かれる作品は何よりもその人々にとって精神的・情緒的に有意義なものであるべきだと私は考えます。
この小冊子にとりあげた作品群が、公共空間と造形作品との関係を考える人たちへの新しい問いかけとなることを、私は心から願っています。
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I have, until now, mainly made sculptures which use wood as the base material and which are then lacquered and colored with pigment.
Accordingly, from the point of view of the nature of the material, this means that almost all of the works are appreciated by individuals indoors.
However, when I was carving stone while still a student, I was surprised by the unexpected expressions shown by the works when they were drenched by the rain and as a result of the shadows from the sunlight.
Also, several years ago, under commission by a governmental body, I made 20 origami-like dogs from sheet steel which I arranged over an expanse of lawn. When I recalled the exhilaration and all the commotion when children who came to view them sat astride them, a strong desire for a major project of fusing the outdoors and public spaces as well as architecture and the townscape overcame me and I thus was spurred into making metal sculptures, mainly using bronze.
This pamphlet collects not only ones that have actually been placed in public spaces but also those which have been suggested for temporary construction for such locations as lawns, ponds, rivers, etc.
Recently, a very large number of outdoor sculptures and three dimensional creations were placed along streets and in other public spaces under the pretext of city planning and regional development.
However, I have grave doubts as to the extent that the people in contact with them feel an affinity towards them. The leading role in the streets is played by human beings, and it is natural that public spaces belong to their users. For this reason, I think that the works put there should be, above all, spiritually and emotionally meaningful to people.
It is my sincere hope that the works covered in this pamphlet will pose new questions to people who think about the relationship between public spaces and formative works.
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