Page 1 Page 2 Page 3 Page 4 Page 5 Page 6 Page 7 Page 8 Page 9 Page 10 Page 11 Page 12 Page 13 Page 14 Page 15 Page 16 Page 17 Page 18 Page 19 Page 20 Page 21 Page 22 Page 23 Page 24YOSHIMI HAYASHI People and animals migrate for many different reasons: for food, shelter, water, better weather, jobs, their dreams, the comfort of loved ones, or to get away from danger. Humans are the only species to travel for leisure—to quell our wanderlust. In Australia the aborigines call it a Walkabout. Whatever the “walk- ing about” is about, there is a relationship between our intentions and the place. The place that I stand today cradled the footprints of the buffalo and the Native Americans who hunted them. The “Ciboleros,” Mexican buffalo hunters of the 1820’s, also worked the Wyoming plains trading with the natives. Today the buffalo are replaced by fields of alfalfa, cattle, and drilling rigs. The faint remaining herds are relegated to personal stocks or protected parks. Yet people have migrated thousands of miles disregarding borders, escaping dangers, and quietly living camouflaged in the landscape. The migrant workers have come to work the land, to grow food and raise cattle, and send back money to their families in their hometowns. In my own walkabout, I want to be naïve—to see romantic visions: buffalo roaming freely, Native Americans looking like “proper tobacco store Indians,” cowboys with six guns and chaps. I want to close my eyes and not see the faces of innocent girls like Brisenia Flores, whose image appears on each buffalo, who was murdered by Minutemen in her home in Arizona (her family mis- taken for being illegal), left to die in her mother’s arms—collateral lives lost, from the inflammatory rhetoric that permeates our country. I am torn with the guilt of wanting to see my ideal images versus knowing the hardships that sculpt a place. The work I’mmigration is a response to the conflicting feelings I have as a tourist in Buffalo, Wyoming. It combines the folded paper (origami) traditions of my immigrant Japanese background, with the disappearance of the migratory buffalo. My beasts carry with them the burdens of people living and working on the land. The buffalo are installed in small towns on the plains with abandoned storefronts, the youth migrating to large cities for better opportunities—my romantic intent to honor the lives of the animals and the people that still live close to the land. The Japanese fold origami cranes in hopes that a loved one will recover from illness or to ward off bad luck. My gesture of folding the buffalo touches upon these hopes for the place, though I know that at the end of the day, they are only naïve paper dreams of a tourist. Left: I’mmigration, 2015, outdoor dispersal installation (detail), works on paper Above: I’mmigration, 2015, urban dispersal installation (detail), works on paper