We visited thanks to a connection made by architect Hideharu Asanuma. “Hama Line” is a place used as a gathering spot for fishermen, and we were allowed to exhibit our works there.

We displayed “The Storytelling Table Runner” along with “Inter-Traveler,” a piece featuring only the lower half of a child’s body. Since “Inter-Traveler” has often been exhibited outdoors, the moment I saw the building, I imagined placing it on the roof. However, for those who had experienced the tsunami during the disaster, the piece evoked different emotions. This led to discussions about the work on-site.

Although there was some tension, I strongly felt that these kinds of exchanges were essential to this project. Up until then, I had enjoyed selecting and installing the works, but I also realized the need to take a step back and proceed with more care.

Afterward, we went outside and, as originally planned, placed the work on the roof and a large seawall nearby, taking photographs. Suddenly, the piece began to blend effortlessly into the landscape, coming to life. There were moments during the installation process when I felt a mysterious connection with the artwork, and this was one of those times.

Through conversations like these, and even occasional friction, I felt that the works and the project were gradually being understood. I sensed that there was more I could and should do so that one day, they might truly be embraced.

Konoike mentioned that “Inter-Traveler” is a work that crosses boundaries and unsettles adults. I felt that it was also a highly significant piece for this project.

Later, we were treated to a delicious meal and received souvenirs at the community center. As Konoike set off in Asanuma’s open-top car amidst the gently falling snow, the scene was unforgettable—just like a moment from a trendy drama.