The composition of sculpture arises from scenes within one’s field of vision, the atmosphere they emit, the act of selecting fragments of those scenes, and the distillation of spatial distance. Artist Sato Yoshitaka holds a deep fascination with the images, materials, and forms projected within his line of sight. He keeps these elements of sculpture in mind, carefully cultivating and developing them over time. Concepts such as “what to retain and what to leave out,” “abstraction and figuration,” “fragments of lingering memory,” and “the nature of existence itself” serve as clues that Sato Yoshitaka explores in his sculptural practice. In order to clarify the emotions and forms expressed in his work, he continuously undertakes processes of reduction—paring away excessive modes of expression and carefully selecting which elements to preserve. Through this process, figurative forms may become abstract, while abstract forms may acquire a more defined meaning. As a result, the final work may diverge entirely from the artist’s initial imagination or formal conception. However, Sato Yoshitaka believes that if the resulting work approaches what he ultimately seeks—that viewers may perceive, through the material presence of the sculpture itself, the atmosphere and qualities that extend beyond it, and continue along that newly opened path of interpretation—then such divergence is neither superficial nor a betrayal of the original intent. Rather, it becomes the very affirmation of what the artist considers to be a successful work of art. 彫刻の成分、それは視線の先にある景色、滲み出る雰囲気、景色の切り取り及び距離感の抽出などである。Yoshitaka Satoは視線の先に投影される景色、物質や形状に深い興味を持ち、このような要素を心のどこかに留め、木彫の作品を思案している。 「いるといらないで残った要素」、「抽象と具象」、「記憶の破片」及び「そこにあるモノとしての存在感の性質」。これらは彼が彫刻制作を行う際の手がかりにしているものである。作品で表したい思いと形は、明解にするためにそれぞれの要素を取捨選択しシンプルにしていく。 その過程で具体的な形が抽象化されたり、抽象的な形に明解な意味が加わったりと、最初に考えていたものとは思考も形も全くかけ離れた作品ができてしまうこともあるが、彼はそうして出来た作品が「作品を見た人が物質としてのそのもの（作品）は傍に置いておき、そこに残った雰囲気や性質を感じながら、わき道に外れつつもどこまでも思考を続けていくことができる様なもの（作品）」に近づくことになったのであれば、自分の浅はかな作為などを感じない 、いい作品ができたものだと思う様にしているという。