I was kept in the nothingness that I became interested in natural ecology, folk belief and esoteric Buddhism thought and felt vanity of life.
I disfavored it for work of environmental molding treated the decoration of the city. I demanded "the space where oneself sat" and one's origin, a place to stay and live.
Then I borrowed a store space for one month and held a solo exhibition there. I stepped forward to the one step as the artist.
I announced "the spiritual power birthing and nourishing all things - end" as the space where an human being sits because the world was too functionalized".

After that incident I refused to create environmental art merely as decoration for buildings or cities. I was looking for some satisfaction of my own. I wanted to express the basic human mentality to the people who live in a world of functionalism. Then I brought out my work named Musubi, the space for a man to sit.

My encounter with the rope in '72 was a sensitive experience which
swept me away in a second to the origin of the human existence.
What is the human being? What is the Cosmos? What is the Earth?
I began my journey to find out the structure and interrelatedness of these things. This was a journey from the daily routinism to non-routinism, and vice-versa.
This journey was also an introduction to the spiral for me. One day I noticed a long growing from a small piece of cabbage in the corner of my kitchen.
I was impressed by its vitality to live without soil or water: What creates this will to survive in even the most severe of conditions? Grass grows on earth, aways in the wind,withers and returns to earth. Birth and death are repeated every year
in the life of the grass.

“MUSUBI”“Deity of birth " is enshrined in the womb under the brutal world where a man must receive the life.
The art work was reviewed in-SD magazine 1972-7 as A corner of Mariyo Yagi.