This work, composed of sanded fragments of glass and feminine daily objects (a face-washing foam, chair leg socks, and wool) bought in Okinawa, illustrates a contradictory image of the world. In the exhibition room, audiences firstly would see instructions posed by several questions. These questions encouraged people to take and move the components (such as the fragments of glass) of the artwork. By physically touching/holding/playing/moving these fragments, a series of feelings would be evoked with the goal of soothing the negative ones. The initial nervous feeling and the unwilling mood would disappear at the moment of touching since we would discover that the sharp and dangerous-looking glass fragments are sanded and safe. This piece generates a situation for people to explore and re-identify the relationship between dangerous, safe, self, and the public.

* This work is composed of two parts in the exhibition room. The first part is installed in a living room close to the entrance. On a coffee table covered with blue velvet, several sanded glass fragments and daily domestic objects are displayed and provided with instructions. Audiences are welcome to take any piece with them. The second part, located in the main exhibition room, involves a lower end table also covered with blue velvet and glass fragments along with hand-written text: "the map of the world". Audiences could put down their pieces of glass in order to make a puzzle of the world map.