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Nibbling on a sardine head, pouring washing powder, repositioning a pillow. These are a means to an end, because the actions of life have a somewhat definite purpose. However, there is something strange. Since most of our days are filled with these actions, everything is viewed as a means to an end, and what we intend as the end will disappear. Eating, washing clothes, and sleeping are all intended to sustain life as a precondition, but I can feel that I am not living simply just to live. If you are an artist, it may be possible to slip a purpose into another context. For example, it is thought that living is for “good” work, but I do not feel that is all. This is because I value my life and an attachment to things like the taste of a sardine that disappears quickly, the feel of a clean shirt, a scary dream that I forget when I wake up from sleep, and the “dreaminess” that disappears in an instant as both a means and an end, overlapping as I repeat living every day. My performance artwork began with the act of processing the material itself. This includes bending a 9m steel sheet with my body and gloved hands and recording the undulation of the irreversibly deformed sheet on the floor with chalk. This series suggests that the act changes not only the materials but also the artist and includes themes of a harmony between the man-made and the human, such as a walking-cane and a human-being. Next, I have a series of performances that use improvised objects. These performances use bed sheets, beds, desks, etc. These were created with irreversible change, the fleeting nature of things that stand on their own, and fragile fragments in the mind. Also, I created performances that incorporate acts such as walking around and eating, exploring ways to softly connect the performance with other people and events encountered by chance, as well as fallen objects that I happened to discover. These three series of my performance art are connected in that they give form to the fragile and vulnerable sensation of “dreaminess”.