——What kind of message did you put into this work?

While I was drawing from about the year before last, I was thinking about the ``memories'' and ``feelings'' that people have, and I came up with the idea of attaching something that symbolized these things to people's heads. The method of attaching some kind of motif to the human body has been used in wood carving, but this is the first time I have attached it to the head. This time I was given the task of using clay (as a model for a bronze sculpture), so I thought I'd give it a try.

I think this person (sculpture) is looking into himself and confronting his own memories and thoughts. Most of my works so far have been made with this in mind.

——You can see motifs of trees, buildings, and books above the statue's head.

Oh, does it look like a tree? That would be great (lol). What I wanted to express here were the ideas of ``words,'' ``nature,'' and ``what people believe.'' In parallel with this work, I am working on a project about the novelist Sakutaro Hagiwara, and his admiration for France is also reflected in this project.

The building on the left side of your head is a church. And books symbolize "words." And a tree-lined avenue. I chose these motifs because I wanted to represent memories, thoughts, and things that people live with.

I have always believed that books are the most beautiful thing created by humans. I think books are more amazing than art or music. It's like the world and the universe can be seen within just a tiny layer of thickness. It is possible to depict the universe to some extent with paintings, but it is difficult to do so with sculptures, and I think the great thing about books is that they can spread anywhere and reach everyone. I also have vivid memories of seeing some shockingly beautiful books in Europe, and that may have had an influence on me.

——You have been developing the image for this work for some time through drawings, but do you usually draw down the ideas for your work?

I agree. Try drawing whatever comes to your mind in a sketchbook. I rarely create something after thinking about it theoretically. If an idea pops into my head by chance, I immediately write it down. When I do that, sometimes strange shapes come out, but I keep the ones that I can see potential in, like, ``Maybe this is what it looks like here?'' or ``Isn't it weird? Is it interesting?'' .

And then, years later, when I was thinking about a theme and it occurred to me that I might be able to use the drawings from that time, that's when some of my work becomes a work of art.

——The process of wood carving, where you carve wood, and clay, where you add things to it, seem to be completely opposite processes, but what was the process like creating this time?

It's been a while since I've worked with clay, so it was fun. Adding something and removing it seem to be opposites, but I don't really see any difference in that. I was always working with clay from my childhood until my university days. I started wood carving in earnest towards the end of graduate school when I was asked to create a statue of the Virgin and Child. Although the methods used for wood carving and bronze carving are different, I believe that the goal is the same, so I have never really thought about the difference.

——What is your impression of Marunouchi-Nakadori Ave., the setting for “Marunouchi Street Gallery”?

I used to go there when I was young to go to the movies, so it was one of my favorite places because it was spacious and had a sense of openness. Previously, track and field athlete Dai Marunouchi-Nakadori Ave. (Tokyo Street Athletics in 2007), and I thought it was a good idea to be able to do something like this.

As the number of sculptures I created gradually increased, I started to see more and more works by my friends, including the works of (my friend and sculptor) Misawa (Atsuhiko), and I was jealous of them. However, since I am a wood sculptor, I thought that no one would ask me to do it, but I was very happy when I received an offer saying, ``Would you like to do it in bronze?''

——I understand that it is rare for you to have the opportunity to exhibit your work outdoors, but how do you feel about it being seen as public art?

It's always scary. This also applies to museum exhibitions, but there is always a sense of nervousness when presenting a work in public. I'm always nervous on the opening day of an exhibition or preview to see what kind of reaction it will get. When I hear people say, ``It's beautiful,'' after seeing my work, I feel relieved, as if my stiff body is melting away.

——Finally, please give us a message about “Marunouchi Street Gallery.”

``Marunouchi Street Gallery'' has a good selection of artists, and I think there are masterpieces from a variety of artists. I feel that they are bringing contemporary art to life in a good way on the streets. I'm happy and grateful to be able to participate there. I hope that Marunouchi-Nakadori Ave. will become a street that will bring joy to people who see it, including art works.