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"Das Boot", June 13, 2003, 11' X 34', 14' high, willow saplings, Rahr-West Art Museum, Manitowoc, Wisconsin [for city maritime theme].

\   "Big Shimenawa in Small Mountains", July 23, 2002, Shimenaw is 26m wide and a 14m drop, Small Mountains are 6 X 8m, 10m high, Japanese knotweed, Sapporo, Japan.
\   "Yves Croix-Six", September 21, 2000, 21' X 18', 9' drop, forest fern stems, suspended from an over-hanging tree above a stream in Vosgelade, Vence, France.
\   "Porkka Puttanna", August 31, 2000, 69' X 62', bundled saplings, with a path to go under the work for Arte Sella, Borgo Valsugana, Italy.
\   "Crossed Shimenawa", October 17, 1997, 44' X 44' wide, 16' drop, rice straw wrapped with handmade rice straw rope, Osaka College of Art, Japan.
\   "Growth Rings", September 9, 1997, 23' in diameter, 28' high, bamboo. Made for the Green Festival of Hiroshima, Japan
Roy Staab

Works in Air

These pieces fit [kind of] in a traditional category of sculpture and are more in the 'round'. The logic for the work is what is possible for the place and situation.

In BIG SHIMENAWA IN SMALL MOUNTAINS, the fragile knotweed is supported in the crotches of a central tree to form a pair of crossing arches for the small mountains. And the shimenawa is one very long line of bundled knotweed that descends and rises through the space, suspended from trees in opposite diagonal corners of the garden.

PORKKA PUTTANA suspends out horizontally like the water works in an even plain over the steep forested mountainside. It is made to be level with the logging road but there is also a path that goes down under it. The main material is saplings that come from the forest. They are tightly bundled with wire and held in place by lintels and loops of nylon rope. This work is made to last a few years and will be dismantled by the grounds keeper.

For CROSSED SHIMENAWA I used 'rice straw' (tradition used by the Japanese, now defunct) to make rope and the material for the work. I was asked to present 'installation' at the Osaka College of Art, where there was no ground space available. The open area above a courtyard amphitheatre seating area was perfect for the suspended soft fiber work, letting the force of gravity from the natural drop curve.

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