In addition, I have made five"trap pieces” for this exhibition. These were unlike any of the other pieces in this exhibition in that they were spatial works instead of solid forms with an intricate surface treatment as " the Wall" or ''the Train" pieces. And above all, unlike construction materials used in other works, these were made of branches of a tree, fish net and pebbles- materials close to nature. The experience of born in fishing port in Japan, camping as a member of boyscout in Oregon, interest in a primitive culture, and having a room mate at Oregon State University dorm who was making allowance money trapping and selling muskrat all these probably had something to do with formation of these pieces. There were criticisms that having these "Trap Series" works with "the Walls" and "the Train" in a one show was inconsistent. At the time of the exhibition I wasn't sure about this. Being young and inexperience, I just made what came to me. Reflecting back, "the Traps" simultaneous appearance with "the Walls" and "the Train" does not seem that contradictory in that this reflected dichotomous childhood existence within me: of my experience of living in the midst of city vs. summer country life of living in cabin picking berries and going out for boyscout camping. But more than this, already in this exhibition, signs of my need to show world of mankind simultaneously with world of nature as in my life's work "the Tree of Life " is shown. The "Trap Series" gained much more significance as usage of branches and coils of thread as in these works becomea major elements in my current works.
Above left "Trap #" （左上「わな＃４）
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