“Her şeyin özü sevgide”: Yutaka Sone

“The essence of everything is love”: Yutaka Sone

An artist who believes in time, patience, and love… Japanese sculptor Yutaka Sone brings sculpture and painting together in a shared conceptual space through the three-dimensional perspective gained from his architectural education. Seeing marble not just as a material but as nature’s silent language, the artist emphasizes patience, craftsmanship, and emotion in his work, which ranges from detailed city models to abstract forms. When Sone says, “Dense white marble possesses both natural and artificial beauty,” he is actually describing the elegance within the stone. We discussed his artistic vision, his connection with marble, and his advice for young artists.

 

How did your artistic journey begin?

In the early 1990s, the curators, Hans Ulrich Obrist and Lars Nittiwe, invited me to Europe and began to traveling and working in Europe. At first, I traveled with my wife and children, and I remember being very busy with both art production and family matters.

 

How has your architectural education influenced your art?

I think studying architecture has helped me to understand three-dimensional objects, especially in the creation which is needed a long period of time.

 

Working as both a painter and a sculptor — how does this dual practice give you freedom of expression?

 

As a sculptor and a painter, there is not much difference in the sense that we both work at the core of art. However, there is a big difference between creating a sculpture over a long period of time and trying to complete a painting in short time,  3-5 days. I think that by understanding this difference, we can improve the quality of both.

 

How did the idea of creating detailed cities from marble emerge, and what does this process mean to you?

I was thinking to make the landscape of a city at night as sculpture, and after much consideration, I decided to carve the entire city. At first, the production process was not stable, so it was very difficult, but through dialogue with the craftsmen and through technical trial and error, I was able to complete it.

 

Why do you particularly prefer marble in your artistic practice?

Because dense white marble and almost look like industrial material, like plastic. But really white marble are so beautiful, natural material but look like artificial material

 

What do you consider when selecting marble for your sculptures? Do you have a preferred type of marble, and if so, why?

I once used Indian white marble and I felt that is I love on 2022. It was dense and heavy weight.

 

Is there a specific project or exhibition you are planning to realize in the near future?

Making Obsidian, shaped by black marble.

Ponte Vecchio bridge, made by white marble.

Large slide made by local stone which is assembled.

 

What advice would you give to young artists who want to work with stone?

“LOVE”