For people living in a country where the earth freezes hard in winter, the transition from winter to spring is like a kind of birth, the earth heaving and pushing.
“It puzzled me when I saw the sculpture in his garden. A horizontal piece of pink granite, shaped like the case for an elongated lute, sits on a smaller, wedge-shaped piece, which then sits on a darker, smaller, and roughly cut circular piece. Lately I’ve been looking at two versions of the sculpture; one where it sits on a glassy rise, standing out against the shadow of a mass of foliage, the other where it sits on a sandy rectangle in front of an office building. In both cases it looks compelling. I don’t know why it should look so good , both in a pastoral and in an urban setting, why it should be so obviously modern and yet call up such primitive associations” (D.G. Jones 1997).
Winter Lays the Egg of Spring
120 x 118 x 63 cm
Yamae Hisano Co., Fukuoka, Japan
Agalmata (1998), exhibition catalogue