Yasuo Mizui

Yasuo Mizui
Born(1925-05-03)3 May 1925
Kyoto, Japan
Died3 September 2008(2008-09-03) (aged 83)
Apt, France
Alma materKobe University
Tokyo University of the Arts
École des Beaux-Arts
Known forStone sculpture Metagraphie
Notable workWalls of Fossiles Japan
Macrocosm and Microcosm France
Key of Love Germany
Echo of laugh US etc.
AwardsOrdre des Arts et des Lettres (Commandeur)(France·1985)

Yasuo Mizui (水井　康雄, Mizui Yasuo, 30 May 1925 – 3 September 2008) was a Japanese stone sculptor who lived in France. He specialized in abstract forms for public sculpture, often within architectural contexts, and participated in several sculpture symposia across Europe, the United States, Israel, and Japan.[1]

Biography

Yasuo Mizui enrolled at Kobe University in 1944.[2] During World War II, he worked as a technician at a company where he learned casting. After graduating in 1947, he entered the Tokyo University of the Arts, majoring in Sculpture. He studied under Kazuo Kikuchi and Hirakushi Denchū. Mizui shifted his focus from mechanical engineering to sculpture because he believed in the transformative power of art—something without borders or conflicts. For his thesis, he chose the topic "Art Casting – Casting Daibutsu".[3]

After graduating from the Tokyo University of the Arts in 1953, Yasuo Mizui received a scholarship from the French government to continue his studies at the École nationale supérieure des Beaux-Arts in Paris from 1953 to 1958. There, he studied monumental art and sculpture under Alfred Janniot and Marcel Gimond. From 1954 to 1958, he apprenticed under Apel·les Fenosa while pursuing his studies.[2]

During his apprenticeship, Fenosa instructed Mizui to create one clay sculpture each day upon his arrival at the atelier. After several months, Mizui felt despair over his perceived lack of creativity. However, he managed to complete a piece at the last moment, an experience that profoundly shaped his artistic journey. This period of growth prepared him for participation in International Sculpture Symposium and the creation of large monumental works under France's 1% for Art program.[3][4]

Works for Olympic games in Japan and France

He created the sculptural wall Les Murs des Fossiles (Walls of Fossils) for the Tokyo Olympics in 1964 and Microcosme et Macrocosme for the Winter Olympic Games in Grenoble, France.

Les Murs des Fossiles (Walls of Fossils) is a granite relief wall (2 x 93 x 0.3 m) created by Yasuo Mizui in 1964 for the Yoyogi National Gymnasium,[5] a venue for athletic games located in Yoyogi Park, Tokyo. The gymnasium, designed by Kenzo Tange, was constructed between 1961 and 1964.

In February 1964, Tange commissioned Mizui to create the artwork. Mizui, along with ten assistants, worked on the project for three months on Kitagi Island, known as "Stone Island," in Okayama, Japan. The completed pieces were delivered to Tokyo in August 1964, and the wall was introduced to the public by international media in September.

The abstract wall spans a total length of 93 meters and consists of 408 Mikage stone blocks, each measuring 1.82 x 0.6 x 0.3 meters, with a combined weight of 160 tons. These stones, sourced from Kitagi Island, were hand-carved by Mizui using chisels and both large and small hammers.

The concept of Walls of Fossils reflects ten "landscapes" inspired by Mizui’s deep connection to life and nature, resembling fossilized memories: Travel, Flame, Weight, Perfume, Obsession, Water, Wisdom, Sound, Time, and Light.[6]

Macrocosm and Microcosm is a stone relief measuring 13 x 81 x 0.4 meters, created for the Olympic Village in Grenoble.[7] The work consists of two 40-meter-long walls, representing the dual concepts of "Macrocosm" and "Microcosm."

The "Macrocosm" symbolizes the vastness and vitality of nature—depicting elements such as the Sun, Forest, Mountain, Sea, and River, transcending individual existence. In contrast, the "Microcosm" reflects the inner conflicts and struggles of human beings. Together, these walls explore the relationship between the natural world and human existence.[8]

Tadao Takemoto, translator of André Malraux's Anti-Retrospective (Shincho Sha, Japan, 1977), often mentioned Mizui in his writings. During the creation of the artwork, André Malraux, who served as the French Minister of Cultural Affairs under Charles de Gaulle and was known for his profound appreciation of art, visited the Olympic Village. Upon seeing Mizui's work, Malraux praised it, exclaiming, "Excellent!"[9]

1% for art

In France, the 1951 law mandates that 1% of the state budget be allocated to the decoration of public buildings with artwork. Many of Yasuo Mizui's works in France were created under this 1% for art program. Between 1968 and 1982, Mizui completed 26 sculptures over a span of 14 years.[10]

His first commission from the French Ministry of Culture came in 1968, for which he created Jet d'eau pétrifiée (Petrified Waterjet) at Bordeaux University’s Department of Law.[11] This opportunity arose following his acclaimed work Microcosme et Macrocosme for the Winter Olympics in Grenoble.

Another notable piece, Le Mur qui s'ouvre (Wall That Opens), was completed in 1972. This cement retaining wall, measuring 4.5 x 13 x 1.4 meters, is located at Lycée Louis Bascan in Rambouillet. For this work, Mizui employed a unique technique derived from his engineering background, using molds made from expanded polyester material, cut with electrical resistance.[12]

Symposium

Clet d'amour
Clet d'amour

The sculpture symposium provided Yasuo Mizui with a new direction, allowing him to develop and promote a sense of sculptural monumentality within urban aesthetics. It also fostered competition among artists, challenging them to demonstrate their ability to work with the same material. This movement began in 1959 in St. Margrethen, Germany.

Mizui first participated in a symposium in Austria in 1960, where he discovered the allure of working with large stone blocks, some as tall as 4 meters. In 1962, he created Clef d'amour (Key of Love), a stone sculpture measuring 4 x 0.9 x 0.6 meters, near the Berlin Wall in Germany. The symposium had a symbolic slogan: “The wall to the east, creating a sculpture to the west.” This event was awarded the German Critics' Prize. Reflecting on the experience, Mizui stated, “There is a wall between east and west. That wall creates a sad story every day. Our silent anger fueled this meeting.” The location of the sculpture was later moved, and it is now displayed at Berlin Square in Germany.[13]

In 1963, Mizui participated in the International Sculpture Symposium in Manazuru City, Kanagawa Prefecture, Japan. Supported financially by the Asahi Shimbun Company, Mizui served as a leader, guiding 11 other sculptors from eight different countries.[14]

Diagonal Yin Yang

Near Lacoste, where Yasuo Mizui lived, lies the Fontaine-de-Vaucluse, a mysterious fountain tied to a 14th-century love story. Mizui once reflected: “Why not? Nachi Falls gush somewhere in France as the rain constantly hollows out the rocks of the fountain.” Later, during a visit to Nachi Falls in Japan, he was deeply moved, saying, “My heart and body trembled before the cascade. I was convinced: Nachi Falls had truly pierced the earth, and its spirit rebounded into the Fontaine-de-Vaucluse.”

At the age of 70, Mizui realized that the concept of Diagonal Yin and Yang was a division between Japan and France—two paths, two incomplete cultures. He often contemplated the duality between these extremes in his sculptural work, where he felt caught between the hammer (tool) and the anvil. He saw these two opposing yet coexisting forces influencing his art, identifying Japan as Yin and France as Yang. This interplay of contrasts reflected the dynamic relationship between the two cultures.

Mizui described this dialogue as a continuous interaction between Yin and Yang, where opposition, answers, and mutual embrace emerge through his sculptural expression. For him, elements like rivers, houses, or feminine forms embodied Yin, while flowers, trees, animals, and patrons symbolized Yang. He constantly questioned the balance of these forces in his work, stating: “The response looks like a masked play between truth and falsehood.”[15]

Mizui’s friend, Tadao Takemoto, a writer on André Malraux and Nachi Falls, shared that Malraux once said: "Nachi Waterfall is the backbone of the Shintoism." This insight further deepened Mizui’s connection to the dualities of nature and culture in his art.[16]

Diagonal Yin Yang is a series of 40 stone sculptures created in Japan for an exhibition at Gallery Tatuno Hiranomachi in Osaka in 1965. Following the exhibition, all the sculptures were transferred to France and displayed in the garden of Mizui's residence in Lacoste. In 2013, two of the statues were gifted as part of an exhibition held in Luxeuil-les-Bains.[17]

Wall of Hope

In 1985, during a project with Seita Onishi, a Japanese businessman and philanthropist, Mizui became deeply interested in actor James Dean. Together, they set out to create the James Dean Center, which would be located in Cholame, California, near the site of Dean's fatal car accident.

Earlier, in 1981, Mizui had created and placed a chromium cenotaph for James Dean, commissioned by Onishi, near the location of the accident.[18]

Mizui worked on the James Dean Center project for three years, creating sketches and sculptures, as well as visiting the United States. However, due to a conflict of opinion with the owner of the proposed site, the project could not be completed. Despite this, the Wall of Hope remains—a monumental sculpture (Limestone, 13 x 4.5 x 1.2 m) dedicated to the memory of James Dean. This sculpture took Mizui three years to complete and consists of 150 tons of stone extracted from the quarry in Lacoste, the village where he lived.

On one side of the Wall of Hope, Mizui sculpted the face of the film icon. As the artist explained, "I said to myself, the three masterpieces of James Dean saved his fans from despair. The desperate walls open and give us the light of hope."[19]

The Wall of Hope was inaugurated in 2006, 51 years after James Dean's death. Although not in California, it now welcomes visitors to the garden of Mizui's residence in Lacoste, serving as an open-air museum.[20]

Stone and Asceticism

Mizui once said:

Given the immense nature, I felt very small. The stone, with its rough texture, was already so beautiful. Although I spoke to it, insulted it, and sighed in frustration, it remained unyielding and quietly resistant, despite my pleas and anger. However, after some time, the stone began to communicate with me. It guided me: 'Not like that! Try here! Yes, like this.' If I can one day melt into the divine nothingness, my sculpture will remain as an offering to the great nature.[21]

Jean Rosenberg, a science professor at the University of Poitiers, commented on Mizui's sculptures, saying:

In his non-figurative art, the temporal dimension is absent. There are no messages encoded in symbols or figures. His work is cosmic. One feels the origin of life and evolution; it represents universal entities that have not yet individualized, standing at the very beginning of evolution.[22]

Métagraphie

The technique of compressing color between two sheets of paper or other materials gave rise to unexpected, fantastic images. The artist analyzed the causality of phenomena that might be considered accidental. In other words, it involved introducing the power of will into the creation of such phenomena by developing a technique and practice. This process expresses reflection, change, succession, and the act of transcending, bypassing, or existing between various states.

The technique, known as métagraphie, is obtained through a non-reproducible process. The artist applies watercolor to waterproof paper, then allows the materials to interact and evolve naturally. Mizui's response to this process is to find the right balance between the fluidity of the watercolor and the exposure time. While similar techniques such as pressed oil, starch-pressed, and decal exist, Mizui’s approach and choice of materials are distinct.[23]

In 1984, international fine arts critic Sakae Hasegawa commented:

When I saw this painting for the first time, I thought it was a picture of a snowy mountain. But upon closer inspection, I realized it was not a picture at all. This image resonated deeply within me, evoking a cold silence. I find that this painting conveys a philosophical and meditative openness, as if the artist has allowed the silence of the heart to emerge.[24]

Four completed forms

1. The Sculpture of the Oscillation / Oscillo-Relief, 1972–1982

The Oscillo-Relief cut is a shape created through the vertical oscillatory motion and horizontal oscillation of an electrical resistance. This free form does not result from a prior plan, but the technique requires precise control. Oscillo-Relief is a fundamental invention of Mizui, which he first applied to his sculptures in 1972.

In 1981, Mizui was invited to participate in the 2nd Henry Moore Grand Prize Exhibition at the Hakone Open-Air Museum in Nagano Prefecture, Japan, where he created Oscillo-Complex (stone, 3m x 1.3m x 1.2m) and received a Special Prize at the exhibition.[25]

2. The Wall Sculpture, 1964 –

Cosmos (stone, 15m x 18m x 0.06m, 1970, Lycée Louis Armand, Villefranche-sur-Saône)[26] consists of 360 flagstones of Comblanchien, each 6 cm thick, firmly fixed to the wall. Mizui himself stated, "I wanted to create a shadow, graphics, and light evoking heaven, earth, and man."[27] The wall sculpture recalls, in formal terms, Les Murs des Fossiles and Macrocosme et Microcosme.

3. The Sculpture "Large Head", 1960–1971

Hommage à Néguev (To Negev) (marble, 3.7m x 1.7m x 0.6m, 1962, Mitzpe Ramon, Israel, Symposium) was created during a symposium in Israel. Reflecting on this experience, the artist expressed:

It was a real brainwashing experience for two months in the Negev Desert. I felt my sculpture as a drop in the sea, immersed in the immensity of nature. This was the first time I could hold a chisel with sincere humility. When I made an elliptical hole in the top part, I felt that sunlight was rising towards me.[28]

4. The Sculpture ZIG and ZAG, 1973–1974

ZIG and ZAG (stone, 2m x 0.4m x 0.4m, 1973,Savannah College of Art and Design, Lacoste) was created after Mizui first worked with blocks of polystyrene, cutting them to visualize the final shape of the sculpture. He directed dozens of works using this technique. In the 1950s, many Parisian artists chose to establish their workshops in Provence. The New York painter Bernard Pfriem opened an art school to bring American students to the center of Lacoste, France.[29] This school was located in a large house next to the ancient castle of the Marquis de Sade. Mizui maintained a relationship with the school for 20 years, teaching stone sculpture to students every summer and creating a new piece of work with them each year.[30]

Selected chronology

  • 1925 Born on 30 May in Kyoto, Japan
  • 1944 Graduated from Kyoto Daiichi Industrial high school in Kyoto, Japan, majored in mechanical engineering
  • 1945 During World War II, worked as a technician in Hyogo, Japan
  • 1947 Graduated from Kobe University in Hyogo, Japan, majored in mechanical engineering
  • 1953 Graduated from Tokyo University of the Arts in Tokyo, Japan, majored in sculpture
  • 1953 Obtained scholarship from French government to study at École des Beaux-Arts in Paris, France, majored in Sculpture
  • 1954 (until 1958) Apprenticed from Apel·les Fenosa in Paris, France
  • 1958 Graduated from École des Beaux-Arts in Paris, France
  • 1959 Participated Biennale de Paris France, awarded A. Susse individual prize from Tombeau des corbeaux (Bird cemetery)
  • 1960 Participated St. Margareten international symposium, created Clef au ciel (key to heaven)[31]
  • 1961 Participated Sculpture Sumposium Kaisersteinbruch in Kirchheim, Germany, created Borne III (Guide III)
  • 1961 Participated 1st time International sculpture symposium in Portorož, Slovenia, Borne II (Guide II)
  • 1962 Participated 1st time International sculpture symposium in Berlin, Germany, created Clef d'amour (Key to love)[32]
  • 1962 Participated International sculpture symposium in Mizpe Ramon (Neguev), Israel, created Hommage à Néguev (Tribute to the Neguev)[33]
  • 1963 Participated International sculpture symposium in Manazuru, Kanagawa Japan, created Michinashi
  • 1964 Created Les murs des fossils (Walls of fossils), Yoyogi National Gymnazium, in Tokyo, Japan
  • 1966 Participated International Czhecoslovakian symposium in Vyšné Ružbachy, Slovakia, created Hommage à Tatra (To Tatra)[34]
  • 1967 Participated Olympiad Grenoble Symposium, in Grenoble, France, Macrocosme et Microcosme (Macrocosmos and Microcosmos), started "1% for art sculpture in France[35]
  • 1968 Participated Vermont International Sculpture Symposium, in Vermont, USA, created Trois Traces(Three traces)[36]
  • 1969 Participated Oggelshausen symposium in Oggelshausen, Germany, created Cascade de la lumieré (this works was made first in Berlin and moved to Feeder zee in Oggelshausen)
  • 1975 Participated 13th Biennale of sculpeture in Antwerp, Belgium, created Les Cretes II(Stone smoke II)
  • 2007 Exhibition at Japanese consular in Marseille, France
  • 2008 Deceased in Apt, France

(After his death)

  • 2011 Retrospective exhibition "Yasuo Mizui" at Horikawa Miike Gallery in Kyoto, Japan[37]
  • 2013 Retrospective exhibition "Yasuo Mizui" in Luxeruil-les-Bains (Haute-Saône), France[38]
  • 2014 Retrospective exhibition "Yasuo Mizui" in Lacoste, France[39]
  • 2015 Exposition retrospective "Yasuo Mizui" in Villeneuve-d'Ascq (Nord-Pas-de-Calais), France[40]
  • 2015–17 Installation of Le gardien des nuages in the garden of Chateau of La Celle, foundation Flag-France Renaissance, in Paris, France.
  • 2018 April 4–28 Exposition "Yasuo Mizui, sculpteur de l'âme" in Wattrelos, France[41]

Awards

His works

In France

※ Currently existing[42]

  • Tombeau des corbeaux (Bird Tomb)(bronze / 0.75m x 0.28 x 0.28 / April 1958: First Biennale Paris) Lacoste
  • Amiral:tête de cheval (Amiral: Horse Head) (bronze / 1.2m x 0.9 x 0.6 / March 1963) Bois de Boulogne, Paris.[43]
  • Dessin by the iron spatula - 3 pieces（1966、72、74 / Musée départemental de l'Oise Beauvais）[44]
  • Macrocosme Microcosme (stone / 1.3m x 81.0 x 0.4 / August 1968: Grenoble Olympics game) Village Olympique de Grenoble[45]
  • Jet d'eau pétrifiée (Fountain Fossiles) (stone / 3.2m x 8.0 x 8.0 / November 1968) University of Bordeaux[46]
  • Fleur du Midi (Flower of Provence) (stone / 3.0m x 1.0x 1.0 / December 1968) C.E.S deHyères[47]
  • Cosmos (stone /15.0m x 18.0 x 0.06 / March 1970) Cité Technique de Villefranche-sur-Saône[48]
  • Une naissance (A Birth) (stone / 1.3m x 36.0 x 0.35 / June 1970) University Institutes of Technology de Paris, Paris[48]
  • Soleil-Forêt-Fêtes (stone / 1.3m x36.0 x 0.35 / July 1970) Ecole maternelle de Avenue de Versailles, Paris
  • La mer (The Sea) (stone / 1.3m x 15.0 x 0.35 / September 1970) C.E.S de Châteauroux[49]
  • Le mistral (stone / 2.5m x 70.0 x 0.4 / October 1970) C.E.S de Gardanne[49]
  • Le point de rencontre (Meeting Point) (marble and stone /1.0m x 2.0 x 2.0 / March 1971) Ecole maternelle de Avenue de Versailles, Paris
  • Dialogue (stone / 3.7 m x 2.0 x 0.8 / September 1971) Université de Lorraine - l'UFR Sciences humaines et sociales Metz[48]
  • Oscillo-tower (stone / 2.0m x 0.6 x 0.6 / July 1972) SCAD Lacoste, Lacoste
  • Le mur qui s'ouvre (The Wall Opens) (cement / 4.5m x 13.0 x 1.4 / December 1972) Lycée de Rambouillet[48]
  • Source de vitalité (Source of vitality) (stone / 3.0m x 5.0 x 1.0 / February 1973) Lycée Technique de Rambouillet[48]
  • La corne d'abondance (Horn of abundance)(stone / 3.0m x 4.0 x 1.0 / June 1973: Mountain and sculpture exposition) Plateau d'Assy, J.P.Lemesle)
  • Zig et Zag I(Zig and Zag I) (stone/2m x 0.4 x 0.4 / July 1973) Savannah College of Art and Design, Lacoste, France
  • Le signe de la vie (Sign of Life) (stone / 3.0m x 16.0 x 2.5 / September 1973) Lycée Général et Technologique & Professionnel Charles Augustin Coulomb d'Angoulème[50]
  • Gardien du soleil (Gardian of the Sun) (stone / 4.0m x 1.0 x 1.0 / November 1973) Groupe Scolaire de Vigneux-sur-seine[48]
  • Les cimes (Mountain tops) (stone / 3.0m x 6.0 x 0.6 / May 1974) C.E.S d'Oullins, Lyon
  • Le chant du coq (Rooster's song) (Polisol / 2.5m x 0.6 x 0.2 / June 1974: Exposition) Chamonix France, J.P Lemesle
  • Les crêtes (Crests) (stone /2.0 m x 5.5 x 1.5/ November 1974) C.E.D de Montfort-l'Amaury[48]
  • Zig et Zag IV (stone / 0.8m x 0.25 x 0.25/ December 1974) Lacoste
  • Voie lactée (Milky way)(Marble / 2.2m x 13.0 x 0.03 / January 1975) Bank of Tokyo in Paris, Reiko Hayama
  • Les crêtes II (Crests II) (stone /2.0 m x 5.0 x 1.3 / June 1975: Exposition at Middelheim museum, Antwerp, Belgium) Lacoste
  • Zig et Zag 2 pieces (stone / 1.0m x 0.6 x 0.6 / July 1975) SCAD Lacoste
  • La porte de germination (Germination door) (stone / 5.0m x 3.0 x 0.8 / October 1975) Lycée Technique de Dombasle[48]
  • Oscillo-Cascade I (stone / 2.0m x 6.0 x 1.0 / November 1975) SCAD Lacoste
  • La Sâon (Sâon River) (stone / 2.5m x 25.0 x 0.5 / December 1975) Cité Technique de Villefranche-sur-Saône[48]
  • Oscillo-arch (stone / 1.5m x 4.0 x 0.4 / July 1976) SCAD Lacoste
  • Sagesse (Wisdom) (stone / 4.0m x 2.7 x 0.6 / August 1976) Campus de l'École polytechnique de Palaiseau[51]
  • Coupe-Vent (Windbreaker) (stone / 2.0m x 38.0 x 0.35 / September 1976) Lycée de Châteaubriant, Rennes[48]
  • Une ronde (A Round) (stone / 3.4m x 5.6 x 2.6 / December 1976) / Cité Technique de Colmar[48]
  • Fête de Mer (Festival of Sea) (stone / 1.3m x 20.0 x 0.35 / March 1977) C.E.S de Bourbourg[48]
  • Oscillo-escalier (stone / 2.0m x 6.0 x 2.3 / May 1977) Villeneuve d'Ascq[52]
  • Oscillo-element (stone / 2.0m x 1.0 x 1.0 / July 1977) SCAD Lacoste
  • Oscillo-Cascade II (stone / 3.0m x 12.0 x 3.5 / October 1977)/ University of Nancy[53]
  • Rideau d'eau (Water Curtain) (cement / 3.2m x 11.0 x 0.3 / November 1977) Fontaine de la Place de Quatre saisons, Val-de-Reuil[54]
  • Fontaine au filet d'eau (Fountain trickle) (cement / 200m2 / February 1978) Lycée-collège Léon-Blum, Villeneuve d'Ascq[55]
  • Arc du Nuage(Arc the Cloud) (stone / 3.6m x 5.6 x 1.6 / June 1978) Lycée Michel Montaigne de Bordeaux
  • Gardien du Nuage (Gardian of Cloud) (stone / 2.1m x 1.0 x 0.6 / July 1978) Lacoste
  • Fontaine au filet d'eau (Fountain trickle- additional part) (cement / 10.0m x 2.7 x 0.1 / October 1978) Lycée-collège Léon-Blum, Villeneuve d'Ascq[55]
  • La pierre qui s'enfle (The stone that swells) (stone / 2.0m x 1.0 x 0.4 / July 1979) Lacoste
  • Diago-complex (diagonal-complex) (stone / 2.0m x 1.0 x 0.4 / July 1980) Lacoste
  • L'oeuil du Cyclone (Eye of Cyclone) (stone / 2.4m x 3.0 x 0.6 / October 1980) college A.Sisley de L'Île-Saint-Denis[56]
  • Oscillo-Crêtes (Tilt and Crest) (stone / 2.4m x 7.5 x 1.8 / May 1981) Ecole du Service de Santé des Armés de Bron, Lyon
  • Camargue (stone / 1.2m x 2.0 x 0.6 / July 1981) Lacoste
  • Arc familial (Family arch) (stone / 2.5m x 3.6 x 1.1 / May 1982) Lattes, Montpellier
  • Mèche au ciel (Wick to heaven) (stone / 2.0m x 0.6 x 0.45 / July 1982) Lacoste
  • Trois fenêtres (Three windows) (stone / 2.0m x 0.9 x 0.9 / July 1983) Lacoste
  • Une Constellation (A constellation) (stone / 2.0m x 1.1 x 0.6 / July 1984) Lacoste
  • Bénits (Blessing) (Indian sandstone red and white / 2.0m x 1.0 x 0.95 / April 1985) Lacoste
  • Fenêtres tournantes (Rotating windows) (Stone / 0.8m x 0.7 x 2.0 / September 1985) Lacoste
  • Pierre qui rit I (Laughing stone I) (Stone / 1.0m x 1.0 x 2.0 / September 1986) Lacoste
  • La table cactus (Cactus table) (Stone / 1.1m x 1.0 x 0.7 / July 1988) Lacoste
  • Mini Palais (mini Palac) (Stone / 1.1m x 1.1 x 0.95 / September 1988) Lacoste
  • Colonne biaise (Biaced column) (marble / 1.8m x 0.65 x 0.65 / May 1989) Lacoste
  • Le mur de l'espoir (Wall of Hope - James Dean Monument) (Limestone / 13.0m x 4.5 x 1.2 / August 1989) Lacoste, Vaucluse[57]
  • Quartette (stone / 3.0m x 0.95 x 0.85 / September 1990) Lacoste
  • Zig Zag (stone / 2.0m x 0.4 x 0.4/ September 1996) Lacoste

In Japan

※ Currently existing[42]

  • Cerf-Volant de pierre (Stone Kite) (stone / 2.6m x 1.0 x 0.5 / July 1963) Watanabe Memorial Park, Ube Yamaguchi / 1st Ube biennale）[58]
  • Michinashi (stone / 2.0m x 1.0 x 0.9 / August 1963) made during 1stInternational Sculpture Symposium held Manazuru, Kanagawa, Japan, which sponsored by Asahi Shimbun,then, displayed in front of Yoyogi National Gymnasium while Tokyo Olympic Games 1964. After the Olympic games, purchased by Church of Perfect Liberty Osaka
  • Kitagi (stone / 2.3m x 1.0 x 0.5 / July 1964) Kitagi Junior High School, Kitagi-island, Okayama[59]
  • Les murs des fossils (Walles of Fossiles)(granite / 2.0m x 93.0 x 0.3 / September 1964) Yoyogi 2nd Gymnasium, Shinjyuku, Tokyo, requested by Kenzō Tange for Tokyo Olympic Games (summer)[60]
  • Colonne de la Saison (Pillar of Season)(granite / 2.25 m / 1964) in the garden of Yoyogi 2nd Gymnasium, Shinjyuku, Tokyo　[60]
  • Group de 6 (Group of six)(granite / 1.2m / 1964) in front of Yoyogi 2nd Gymnasium, Shinjyuku, Tokyo　[60]
  • Borne de Terminus (To Terminal) (stone / 1.0m x 2.0 x 0.4 / March 1969) Hakone Open-Air Museum, Kanagawa[61]
  • Trois outils en pierre nr. 3 (Stone Ware No. 3) (stone / 0.4 m x 0.4 x 0.4 / 1971) National Museum of Modern Art, Kyoto, Kyoto Prefecture[62]
  • Oscillo-complex (stone / 3.0m x 1.3 x 1.2 / January 1981) The Utsukushi-ga-hara Open-Air Museum, Nagano 2nd concours of Grand Prix of Henry Moore[63]
  • Hi (Fly) (Heated Rhyolite / 3.0m x 8.0 x 0.25 / November 1981) Azubil learning Center, Shinzaichi, Tokyo
  • Pazzle-Fonte (Bronze / 2.2m x 2.1 x 0.15 / February 1984) Private House, Tokyo
  • Mai Couronne (Bronze / 1.0m x 1.1 x 0.5 / October 1984) Sanyo Shokai Co., Ltd., Ichigaya, Tokyo
  • Méche au Ciel (Wick of heaven) (Bronze / 2.0m x 0.65 x 0.5 / November 1984) Sugino Seiseki, Ogaki, Gifu,(Galerie Nichido contemporal art exhibition and Ayumikai Sculpture exposition in Chiba)
  • Six Crêtes (Date 6) (Indian sandstone/ 7.0m x 2.2 x 2.0; Fountain part: 16.0 x 32.0 / June 1985) Universiade Summer, Kobe, Hyōgo Prefecture[64]
  • Oscillo-complex II (marble / 2.0m x 0.8 x 0.7 / April 1986) Sapporo Sculpture Park, Hokkaido[65]
  • Pierre qui rit II (Laughing Stone II) (granite / 2.0 m x 0.65 x 0.6 / June 1987) Keion Temple, Nara
  • Porte d'éspérance (Gate of Hope) (Indian sandstone and stone / 2.5m x 2.0 x 0.7 / October 1987) Osaka Bioscience Institute, Osaka[66]
  • Jijun (Submission) (Turkish travertin / 1.2m x 1.1 x 0.5 / June 1988) Gifu Keizai University, Gifu[67]
  • Colonne Sapin (stone / 3.0m x 0.95 x 0.95 / June 1991) Shibukawa Culture Hall, Shibukawa, Gunma Prefecture）[68]
  • Dix mille bouquins (Ten Thousand Books) (granite / 1.2m x 1.0 x 6.0 / October 1991) Hakata Kinmon Co., Ltd, Fukuoka
  • La pierre qui m'appelle (Stone is calling) (granite / 3.0m x 0.95 x 0.95 / December 1991) Gifu Keizai University, Gifu
  • Méche blanche (White Wick) (granite / 3.0m x 0.7 x 0.7 / April 1992) Yamato Isuzu Shatai Kogyo Co., Ltd
  • Jet d'eau (Water Rising) (Indian sandstone and stone / 6.0m x 1.1 x 1.1 / June 1992) Ogaki Suitopia Center, Ogaki Gifu)
  • Boules en chaplet I (Balls Rosary I) (Granite / 3.0m x 1.1 x 0.95 / November 1992) Miki Park, Ogaki, Gifu
  • Boules en chaplet II (Balls Rosary II) (Granite / 3.2m x 1.0 x 1.0 / November 1993) Haseko Corporation Tatsuno Hiranomachi building, Osaka[69]
  • Gardien (Gardian) (granite / 2.5m x 1.2 x 0.7 / April October 1994) Haseko Corporation Tatsuno Hiranomachi building, Osaka[70]
  • Récolte (Harvest) (granite/ 1.1m x 0.5 x 0.45 / May October 1996) Kinmon Mizuho Co., Ltd, Kyoto
  • Dance (granite / 1.2m x 0.4 x 0.4 / October 1996) Tokoname Park, Tokoname, Aichi　[71]
  • Fly (granite / 4,0 mx 1,2 x 0,8 / November 1996) Kinmon Co., LTD, Wakayama, Wakayama
  • Hiraku (Open Air) (granite / 3.0m x 1.2 x 0.7 / November 1997) Ogaki information center, Gifu[72]
  • Tsudou (Gathering brains and gathering love) (Turkish Travertin / 3.5m x 2.2 x 0.9 / March 1998) Ogaki information center, Gifu[72]
  • Couple Heureux (Happy Couple) (granite / 3.0m x 2.7 x 1.2 / June 1998) Kinmon production Co., Ltd, Wakayama

In other countries

※ Currently existing[42]

  • Clef au ciel (Key to Heaven) (stone/3.8m x 0.8 x 0.85/1960 ) Made in St. Margarethen Germany, then, moved to Zollikon, Zurich, Switzerland.[73]
  • Borne II (Guide II) (marble / 2.5m x 1.0 x 1.2 / August 1961) Portorož Slovenia[74]
  • Borne III (Guide III) (Stone /2.5m x 0.8 x 0.9 / September 1961) Kirchheim Germany[75]
  • Clef d'amour (Key to Love) (stone / 4.0m x 0.9 x 0.6 / May 1962) Berlin Germany[76]
  • L'ete de Berlin (Summer in Berlin) (stone/1.3 m x 0.6 x 0.6/1963) Berlin Germany
  • Les germes(Seeds) (stone / 2.0m x 0.7 x 0.7 / 1962) Berlin Germany
  • Hommage à Néguev (Tribute to Neguev) (marble / 3.7m x 1.7 x 0.6 / October 1962) Mizpe Ramon (Neguev) Israel[77]
  • L'hiver de Berlin (Winter in Berlin) (stone/1.3 m x 0.6 x 0.6/1963) Berlin Germany[78]
  • Hommage à Tatra (Tribute to Tatra) (stone /3.5m x 3.0x 0.65 / August 1966) Vyšné Ružbachy, Slovakia[79]
  • Trois traces (Three Traces) (marble / 2.0m x 3.0 x 0.9 / September 1968) Vermont USA[80]
  • Babieca (simple minded) (bronze / 2.83m x 1.2 x 1.2 /　1968) Barcelona Spain[81]
  • Cascade de la lumiére(stone / 4.3m x 0.9 x 1.0 / May 1969) Federsee Oggelshausen Germany International Sculpture Symposium[82]
  • L'écho du rire (Echo of Laugh) (marble / 2.3m x 1.8 x 1.0 / April 1973)Palm Beach State College(Lannan Sculptures) Florida USA[83]
  • Fumée blanche (White Flame) (stone / 3.1m x 1.1 x 0.9 / May 1975) Middelheim Open Air Sculpture Museum, Antwerp, Belgium[84]
  • Caprice de Luberon (marble )Palm Springs International Airport California United States[85]

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