台北當代藝術館 官方網站 Museum of Contemporary Art, Taipei

「華麗轉身─老靈魂的魅力重生」The Charismatic Rebirth of Yore

展覽名稱 Exhibit

The Charismatic Rebirth of Yore

展覽時間 Date 2018/05/19 (sat.) ~2018/07/22 (sun.)
展覽地點 Venue


門票 Admission


參展藝術家 Artists

李冠然 Kenny Li、沙布喇‧安德烈(高勝忠)Sabra‧Andre

林淑鈴 Shu-Ling Lin、范承宗 Cheng-Tsung Feng、康雅筑 Ya-Chu Kang

張美儀 Meiyi Cheung、張國威 Koyo William、陳宗萍 Tsun-Ping Chen

傅織女 Tricia Flanagan、舒米‧如妮 Sumi Dongi、楊偉林 Yang, Wei Lin

嘎瑪魯岸 Kamaro'an、、盧聲前 Singchin Lo、賴純純 Jun T. Lai

展覽介紹 About the Exhibition

The Charismatic Rebirth of Yore
The Charismatic Rebirth of Yore
In contemporary art, one of the goals is to break free from previous categorization of art and return to life, the origin of art, and the original state when everything is happening, forming and defying classification and naming; it is an attempt to re-start and re-perceive this world from a new perspective. Between tradition and modernity, craft and design as well as fine art and applied arts, a creator must undergo a struggling process of categorization to shatter the boundary before everything can settle down and usher in new forms of artworks that represent the spirit of a new era. Seeking the guiding wisdom from the days of yore and putting it through a transformative make-over, the results will not only suggest a new beginning and possibilities for the future, but can also be quite remarkable. 
Fashion, lifestyle esthetics, traditional skills are used to be considered as craft, however, they brought up a new trend in major art museums in occident recent years. This phenomenon explains the variations of concepts and unlimited possibilities of contemporary art. In this exhibition, artists, designers and craftsmen have incorporated new knowledge and created works characteristic of our time through a process of self-contemplation and handcraft, a process filled with wonders and surprises. 
This exhibition features several Hong Kong artists, including Koyo William Cheung, Meiyi Cheung, Tricia Flanagan, Kenny Li and Singchin Lo, who have been conducting a nostalgic folk game. After contemplating on life, they have drawn inspiration from traditional, old objects found in daily life, and found elder craftsmen to learn their skills. These masters have not only become their creative muses but also guided them to think outside the box, re-evaluate themselves, and genuinely perceive the hand-making process and the self. Some of these works need to be observed closely to see the exquisite details, which offer the “joy of making discoveries.” For instance, one may find out how porcelain and scrap metal have been used in fashion design, how the concept of yin and yang as well as the five fundamental elements have been incorporated into clothing, and how the game of “rock-paper-scissors” has been integrated into different aspects of art.
Taiwanese artists featured in this exhibition include Wei-Lin Yang, Jun T. Lai, Ya-Chu Kang, Shu-Ling Lin, Zong-Ping Chen, Andre Kao and Cheng-Tsung Feng, Makota'ay. These artists have been conducting an art action that creates a spiraling force while rippling out its impact. At the center of this spiral is their passion and fantasies about the Taiwanese prehistoric culture and the land of Taiwan. The artists have immersed and enjoyed themselves in this project, which reciprocates them with tremendous creative energy. Therefore, in this exhibition, audience will find creatively surprising artworks inspired by and transformed from antiques in National Museum of Prehistory, modern designs of Taiwanese floral textile, the innovative charm of Taiwanese indigo dye, the rise of young generations on this island, and architecture inspired by ancient fish traps and utensils.
This exhibition displays the charisma of innovative artworks, providing a new beginning through redefining the classification of art, design and craft. At the same time, audiences can feel the artists’ forever active minds and creative joy, which demonstrate their confidence in the ever-changing artistic creation. 


參展藝術家 About the Artists

藝術家介紹 Artist Introduction


范承宗  Cheng-Tsung Feng



Cheng-Tsung Feng was born in Taiwan in 1987, and graduated from the Graduate School of Design, National Taiwan University of Science and Technology. His creative objective has been to preserve and continue cultural legacy through artistic creation; and he especially excels in using bamboo to develop and create objects that can be used in daily life. In his training and learning, he has realized that traditional crafts embody extremely brilliant methods of making objects, which are the crystallization of wisdom passed down through generations that individual lifelong efforts can never match. With humility, Feng has sought to learn traditional crafts from elders and artisans, including bamboo weaving and bamboo furniture making in Zhushan, Nantou; steamer making in Yancheng, Kaohsiung; and fish trap making in Ita Thao Village. By learning these crafts, he has been able to appreciate and observe historic objects closely.

For Feng, bamboo is not simply a material used for making objects; instead, he aims to explore the time-transcending wisdom materialized by traditional objects. Feeling that he has an old soul, he once said, “What I have been doing is mostly unearthing the invisible assets hidden in historic objects made by people in the past,” “…insisting that each work I make can incorporate handicraft techniques that cannot be replaced by machines. This principle takes its root in one core concept and context. That is to make use of ‘the cultural wisdom that transcends time and space’ once again through artistic creation, and to make it visible and needed in our time. By doing so, it will be passed down continuously. This has been my real fascination.”



沙布喇‧安德烈 (高勝忠) 出生於臺東大武,實踐大學服裝設計學系創意組第一名畢業。來自排灣族血統的文化本源成為他創作上的靈感繆思,包括原住民各族之圖騰、神話、智慧等,他視創作是個人與文化的內化過程,透過服裝來訴說一個文化脈絡和一個故事,於解構並重新詮釋之際,傳遞出符碼箇中文化的精髓。

有時他引用建築的意象,例如哥德建築與1920年代裝飾藝術(Art Deco)的結構元素,他表示:「…其實我的服裝可以看到,非常明顯的建築結構,因為服裝它需要透過點、線、面形成一個包覆人體的空間,所以服裝它其實就是一個軟性的建築」。如飛扶壁與尖肋拱頂所強調的繁複、裝飾、雕刻的高聳峭拔,以及機械式的幾何、金屬感的濃厚色彩、異材質的拼接剪裁等。藉由個人神祕獨特的語彙,重新衍繹文化的經典詩篇,使服裝展現起承轉合的輪廓表情;柔中帶剛之中,不失復古又兼具前衛科技的未來主義特色。


Sabra · Andre (Andre Kao) was born in Dawu, Taitung. He graduated with the first prize from the Department of Fashion Design, Shih Chien University. His Paiwan lineage has been his creative inspiration, and he has always viewed and internalized the totem, mythology and wisdom of indigenous peoples as the source for his artistic work. Through fashion design, he aims to convey the cultural context and stories of the indigenous peoples, then to deconstruct and re-interpret them while deliver the cultural essence embedded in the cultural symbols.

The artist sometimes uses architectural imagery, such as structural elements from Gothic architecture and Art Deco from the 1920s. According to him, “…one can see very clearly architectural structures in my clothing design. That is because clothing needs to use dot, line and plane to create a space that covers the human body. So, it is like soft architecture.” From elaborate, decorative and architectural elements, such as buttresses and arches, to robotic geometry, to metallic colors and combination of heterogeneous materials, Sabra Andre has employed a range of mystical vocabularies to re-interpret the progressing culture and demonstrated the evolving silhouettes in fashion design. His work reveals an integration of tenderness and tenacity as well as the quality of futurism that is retro and technologically avant-garde at the same time.

Unafraid of challenges and subverting traditional impression, Sabra · Andre’s works created in school have been included in various collections. He was awarded the First Prize of Taiwan Fashion Design Award by Industrial Development Bureau (IDB) in 2009. In 2011, he was invited by IDB to be the designer-in-residency at the Fashion Institute of Taipei. In 2014, he was awarded the Silver Prize of Taipei in Fashion New Design Talent Competition. His XXXX collection was exhibited in Vancouver Fashion Week in Canada in 2018, and in April of the same year, he was awarded the First Prize in the World Fashion Festival Awards held in Dubai, during which he had the honor of receiving orders from the princess of Sharjah of the United Arab Emirates. Afterwards, he soon attended the Vietnam Fashion Week, adding one more page to his abundant experience of international exhibitions.


楊偉林 Yang, Wei Lin



Yang,Wei Lin was born in Taiwan in 1963, and graduated from the Fiber Art Division at the Graduate Institute of Applied Arts, Tainan National University of the Arts (TNNUA). She is currently an adjunct lecturer at the Department of Material Arts and Design, TNNUA as well as the former president of Taiwan Nature Indigo.

Having majored in Chinese Literature in college, fiber artist has always infused a sense of poetry into her work, as if she is replacing the process of writing with weaving. At the beginning, she was an admirer of fiber art, and eventually became a fiber artist herself. Being drawn to linear structure and diverse media, she started to examine history and culture from the perspective of material. Yang specializes in restoring materials back to their former states to unearth the aesthetic sensibility of life in its liminal state. For example, she would restore a book back to pulp or a piece of cloth back to fiber, and apply the techniques of weaving, dyeing and sewing to reveal her investigation and exploration of life experience through the process of making elaborate, time-consuming handicraft. Yang has been awarded the First Prize of the 4th National Crafts Awards, Honorable Mentions in the CONTEXTILE 2016—Contemporary Textile Art Biennial in Portugal, the First Prize of Small Expressions 2001 in the US, and the Special Award in Fiber Art Creation of the 6th Weaving Craft Award.


陳宗萍 Tsun-Ping Chen



Tsun-Ping Chen was born in Taiwan in 1966, and graduated from the Department of Applied Arts, Fu Jen Catholic University. Since 1992 onward, Chen has started her mission to restore the glory of traditional Taiwanese hand puppets. She is also a cultural worker in Chang Yi Fang, the third-generation establishment of Changhua’s traditional glove puppet theater company, Chang Yi Yuan; and in 2005, Chen founded her own studio, Puppet & Pattern Creations. In the early days, glove puppet theater companies often recycled floral bed sheets to create various props and accessories for glove puppet performances, including “xi-wei” ³ used for the performance stage, curtains and costumes. This has become the starting point of Chen’s adventure into the world of traditional floral cloth and patterns. In 1999, she started to develop traditional floral patterns and apply them to cultural and creative use. During 2006 to 2010, she spent four years to conduct a mission-like field study, and collected 708 floral patterns out of her own expense; each precious pattern is emblematic of its own time period between 1950 to 2000. She then categorized these patterns according to style, type and aesthetic presentation, and gathered her own study and interpretation in one comprehensive publication of traditional Taiwanese cloth with floral patterns, which has been a tremendous contribution to the application and research of Taiwanese cultural legacy and its innovation.

3.Traditionally, the bottom half of glove puppet performance stage is covered with drapes, which are call “xi wei.”


康雅筑 Ya-Chu Kang


Ya-Chu Kang was born in Taiwan in 1980, and graduated from the Fiber Art Division of the Graduate Institute of Applied Arts, Tainan National University of the Arts. A professional artist, Kang specializes in mixed media sculpture, installation, painting, and video and textile study. Her work mainly explores issues of social power structure, regional culture, boundary of identity and consumption phenomena in the context of rapidly developing globalization, and investigates the disparities and connections between different cultures. Adopting the concept of simulacra, Kang aims to dissolve the distinction between practical objects and sculptures, function and aesthetic perception, life and art, etc. Through utilizing the nature and historic implication of the material itself, she demonstrates her cultural observations, responses and reflections made within different social structures. Kang has done artist residencies and exhibited her works in Japan, Thailand, the US, India, Bangladesh, Canada, and Turkey. Furthermore, she has researched and studied traditional textile traditions in Peru, Thailand and India, published her experiences and observations of these cultures, and promoted fiber art education.


舒米‧如妮 Sumi Dongi

舒米.如妮在臺北闖蕩多年之後,重返家鄉―花蓮港口部落石梯坪。1999 年與馬浪.阿雄成立升火工作室,從事藝術創作和部落文史調查工作,為推動部落文化而奔走。舒米.如妮有感於土地的休耕、荒廢、屢遭建屋與變賣,憶及部落耆老曾口述,梯田坡度高從海面上看就像波浪,一層又一層的金黃稻浪,自石梯坪一帶蔓延至整個東海岸被譽為「黃金海岸」,她渴望復現往日榮景,遂於2010年至今仍堅持友善環境的耕作方式,投身水稻田復耕與輪傘草濕地的進駐與演替,為著名的「海稻米」復育發起人,其故事曾被改編成電影《太陽的孩子》。同時,為尋找傳統草蓆的日常記憶,再現傳統編織工藝與族人一起種植「輪傘草」(阿美族語為 Faho’),將花蓮原生文化和自然的餽贈轉化出各式創作與發展地方文化的生機。

After living in Taipei for many years, Sumi Dongi returned to her homeland Shitiping in Makotaay, Hualien. In 1999, Sumi Dongi established Shenghuo Studios with Ma Lang Ah Shiong for the purpose of creating artworks and carrying out cultural and historical investigations regarding the tribe, dedicating herself to promoting tribal culture. Due to the awareness of the fallowing, neglect, construction, and selling of the land, Sumi Dongi recalled that the elders in the tribe once stated that seen from the ocean, the slope of the terrace fields look like waves, layers of golden paddy extending from Shitiping to the entire East Coast, therefore known by people as the “Gold Coast.” Sumi Dongi longs for this beautiful scenery of the past and has insisted on eco-friendly farming methods since 2010. Sumi Dongi is dedicated to the re-cultivation of paddy, as well as the introduction and succession of umbrella plant wetland. The artist is the founder of Ocean Rice, and her story has been adapted into film Wawa No Cidal. Furthermore, in search of memories regarding traditional straw mats, Sumi Dongi represents the craft of traditional weaving and cultivates umbrella plants (known as ‘Faho’ in Amis) with other members of the tribe, promoting the legacy of the land by reinterpreting local culture and natural scenery into various artworks.



Kamaro'an在阿美族語裡的意思是「住下來吧」,一方面代表產品都是港口部落年輕人手工製作的,希望多增加在地的工作機會,期許部落的年輕人返鄉住下來吧;另一層意思則是代表,嘎瑪魯岸做的是生活居家的產品與配件,用生活的角度帶大家認識更多部落的工藝與文化。對部落文化工作者舒米來說,kamaro’an這個字代表的是給予人們能量的所在;對編織工藝家的Ina Rara來說,嘎瑪魯岸是生活的空間;對漂流木創作者A’po來說,大家圍在門口一起吃飯聊天就是嘎瑪魯岸。


Kamaro'an means “let’s stay” in Amis. On the one hand, the title suggests that all products are handmade by young members of the Makotaay Tribe with hopes of creating local work opportunities for young artists to stay in their homeland. On the other hand, Kamaro'an provides daily homeware and home accessories, guiding people to learn more about the craft and culture of the tribe through everyday life. For tribe cultural worker Sumi, Kamaro’an is a source of energy. For weaving craftsman Ina Rara, Kamaro’an is a space for life, while for driftwood artist A’po, moments when people gather for food and conversation is in itself Kamaro’an.

Kamaro’an; let’s stay. This concept is filled with the hope that one day, every individual will live earnestly and peacefully on their own land.


林淑鈴Shu-Ling Lin


Shu-Ling Lin was born in Taiwan in 1968. An expert in making head pieces and clothing for glove puppets, she used to record the clothes of traditional glove puppets in the renowned Yiwanran Puppet Theater Troupe, passing on the precious legacy of making glove puppet clothing which is rarely seen nowadays in Taiwan. In 1995, Lin delved into the world of ocean photography because of diving. She became mesmerized by the mysterious life forms in the ocean; therefore, her works have always showed an oceanic impression. Since 2010, Lin moved to Hualien and started learning weaving. Using bamboo, rattan, packing strip, and other fibers, Lin makes sculptures of various life forms. With a free spirit and a temperament of withdrawing from the mundane world, she has been freely enjoying the art of weaving, pottery and installation, not only demonstrating splendid creativity and a passionate force of life, but also embodying an artist’s belief in life and the value of freedom. Lin’s works have been exhibited in the Centre Culturel à Paris and Musée des Arts Asiatiques de Nice in France as well as the Museo del Pueblo de Guanajuato in Mexico.


賴純純Jun T. Lai


Born in Taipei in 1953, Jun T. Lai graduated from the Department of Fine Arts, Chinese Culture University in 1974. In 1978, she received her MA in Graphic Design from Tama Art University, Japan. Before graduation, she already held her first solo exhibition in Tokyo, and has been a professional artist ever since. During her artist career that spans nearly four decades, Lai’s style has been diverse as she employs a wide range of media to make art, including new media painting, sculpture, installation, conceptual performance and public art. Making art as a way of living life, she has first started with the spirit and concept of minimalism to explore the inner world, and moved on to discuss social issues with her creations of public art; in addition, she is also keen in discovering the humanistic and cultural connections between the aesthetics of ocean and this island. All of these artistic goals have reflected her belief in pursuing the free spirit in art. Her work demonstrates an expansive, unrestrained scale. She has been awarded the First Prize in the Exhibition of Contemporary Chinese Sculpture Competition and the Merit Award in the Contemporary Art Trend Competition by Taipei Fine Arts Museum, the Wu San-Lien Art Award, and her works have been included in various collections, including Taipei Fine Arts Museum, National Taiwan Museum of Fine Arts, Kaohsiung Museum of Fine Arts, Japan’s Hara Museum of Contemporary Art, etc.


盧聲前Singchin Lo


他曾榮獲多項獎項及入選重要比賽,包括:2005年獲香港時裝設計師協會傑出青年設計大獎,2006年入選日本東京Onward Kashiyama Co., Ltd.舉辦的New Designer Fashion Grand Prix 總決賽、2007年入圍香港時裝節香港新系列時裝創作大賽總決賽、2008年以香港代表身分參加在德國柏林舉行的INFASHION時裝展、2010年獲得香港設計中心的亞洲最具影響力設計大獎的優異設計獎等。

Singchin Lo was born in 1981, Hong Kong. Not long after graduating from the (Fashion) Design Department of Hong Kong Polytechnic University in 2005, Lo established his own fashion clothing brand. When asked about his style, Lo expressed: “I have always valued materials, textures, and details. I express my ideas through design. Design requires keen observation; the various sensations in daily life have all become inspirations for my creativity, while most designs are motivated by fabrics and materials.” This attention towards materials, textures, details, and craftsmanship, has allowed Singchin Lo to present the multiple layers, complexity, and versatility of different fabrics. Faced with the ever-changing styles of fashion, Lo never bothers with conforming to the trend of innovation, but rather concentrates on the patterns of fabrics, elegantly combining different materials through tailoring and meticulous patchwork, thoroughly expressing the aesthetics of the human form in women fashion.

Singchin Lo has been the recipient of various prizes and awards, including the Hong Kong Fashion Designers Association Young Talent Award in 2005. In addition, Lo was shortlisted for the final competition of New Designer Fashion Grand Prix organized by Onward Kashiyama Co., Ltd. Tokyo, in 2006, the final competition of Hong Kong Fashion Week New Fashion Collection Award in 2007, invited to attend the INFASHION fashion show in Berlin as the Hong Kong representative in 2008, and received the Merit Award of Design for Asia Award by Hong Kong Design Centre in 2010.


張美儀 Meiyi Cheung



Meiyi Cheung obtained her MA in Design from The Hong Kong Polytechnic University. Driven by her belief in “design without boundaries,” she has always pursued a multi-disciplinary design practice, participation in art related activities, and transformed the confinement of tradition through her creative work. Cheung’s work has been recognized by international awards, including the Bronze Award of the A’ Design Award of Italy. In 2015, she was awarded Fashion Designer of the Year 2014 by International Design Award of the US. She was one of the Asian finalists for the International Woolmark Prize 2015-2016 and 2016-2017. In 2010, she was a nominee of the Ten Outstanding Designers Awards of Hong Kong Art & Design Festival. Her work has been exhibited in various design exhibitions and fashion shows, including Fashion Visionaries in Shanghai World Expo in 2010 and Hong Kong Heritage Museum in 2012. Many of her works are included in the collection of Hong Kong Heritage Museum.

She has served as a guest judge or speaker for numerous local colleges and fashion industry events. She was a council committee member of the Hong Kong Trade and Industry Department, a panel member of the Hong Kong Council for Accreditation of Academic and Vocational Qualifications, an external assessor and member of the board of examiners for the fashion design courses of School of Professional and Continuing Education of The University of Hong Kong, and a juror for the Design Incubation Program of Hong Kong Design Center.


張國威 Koyo William


其創作領域涵括:街頭時裝,舞台造形及傳統文化藝術等多元設計。曾獲譽香港傳藝中心頒發「香港十大傑出設計師大奬」之頭銜。2008年分別於在巴黎老佛爺、Etienne Marcel 以及香港海港城成立首間"KOYO"專門店。曾參與2016年東京梅賽德斯‧賓士時裝週、2015年哥本哈根時裝週、2008年香港時裝節國際品牌的個人時裝展「破滅與重生」、2006年於香港展出的「Of Mixed Blood」時裝聯展及獲邀至韓國舉行首次個人時裝展等。

Koyo William is a Hong Kong fashion designer. Influenced by his father since childhood, he has developed a passion for traditional Chinese culture and arts, such as martial art. Having grown up in Hong Kong under the British rule and frequently travelled between Europe and Asia, the artist describes his art as a combination of “the traditional Chinese philosophy of yin and yang and taichi as well as the mysterious artistic style of Western Gothic art. My creative inspiration comes from the saying that ‘without yang, yin has nothing to grow on; without yin, yang has nothing to consume.’ All things are mutually reinforcing and neutralizing. With this concept, I combine the freewheeling wildness of the West and the docile elegance of the East, mixing refined add-ons such as exquisite embroidery and prints with the coarse texture of denim to suggest a sense of edgy simplicity. It is chic and mature, which is my signature style.”

Koyo William engages in diverse creative work, including street fashion, stage look design and traditional arts. He has been awarded the Ten Outstanding Designers Award by Hong Kong Communication Art Center. In 2008, his stores “KOYO” were launched at Galeries Lafayette Paris Haussmann, Etienne Marcel and Hong Kong’s Harbour City. He participated in Mercedes-Benz Fashion Week, Tokyo in 2016 and Copenhagen Fashion Week in 2015. In 2008, his solo show, Destroy & Reborn, was launched in Hong Kong Fashion Week. In 2006, he participated in a group show, entitled Of Mixed Blood, in Hong Kong and was invited by the Council of Fashion Designers of Korea to organize his first solo fashion show in South Korea.


傅織女 Tricia Flanagan

傅織女先後於澳洲紐卡斯爾大學取得哲學博士學位(公共藝術)以及於德國魏瑪包浩斯大學文學碩士學位(視覺藝術);另取得榮譽美術學士(藝術)及副學士學位(時裝設計)。1996年開始從事藝術工作,作品於澳洲、德國、愛爾蘭、義大利及中國等地展出。於2003年取得公共藝術與新藝術策略碩士學位後,便專注於發展公共藝術,作品涵括場域特定的雕塑、聲音、穿戴與行為藝術裝置,亦頻繁地與其他藝術家和社區團體合作,就自身創作的範疇發表演講。作品受德國《Kunstforum》、愛爾蘭《Sculpture Society Journal》及澳洲《ArtReach》期刊所刊載;曾獲得多個獎項及成就,如:公共藝術博士研究的澳洲研究院獎學金;並曾任教於德國魏瑪包豪斯大學及澳洲紐卡斯爾大學,現為浸會大學視覺藝術院講師。

Tricia Flanagan holds a Doctorate of Philosophy (Public Art) from the University of Newcastle, Australia, a Master of Art (Visual Art) from the Bauhaus University Weimar, Germany, and a Bachelor of Arts (Fine Art) and Associate Diploma awarded with honors (Fashion Design). Since 1996, she has worked as a practicing artist, and her works have been extensively exhibited in Australia, Germany, Ireland, Italy and China. Since completing her Master’s degree in Public Art and New Artistic Strategies in 2003, her practice has focused on work in the public sphere. Her production includes site-specific sculpture, sound sculpture, wearable and performance installation. Flanagan often works collaboratively with artists and communities as well as presents lectures about her practice. Her work is published in numerous books and journals, including articles in Germany’s leading Arts Journal Kunstforum, Sculpture Society Journal in Ireland and ArtReach in Australia. Her work has been acknowledged through awards, grants and scholarships, including an Australian Postgraduate Research Award for doctoral research in the field of Public Art. She has worked for the Bauhaus University Weimar, Germany; the University of Newcastle, Australia and the Academy of Visual Art, Hong Kong Ba ptist University. She is currently a lecturer at the University of New South Wales, Art and Design.

李冠然 Kenny Li

李冠然擅長糅合時裝、平面設計及攝影元素,強調作品應具實用及藝術性,建立出賦有魅力的個人風格。2012年成立了個人時裝品牌「FAVE by Kenny Li」,以環保及生活化的概念為出發點,創作出與生活息息相關的系列作品。除服裝外,更推出手工精製的衣領系列,運用環保物料和雷射切割等技術,創作具立體感的衣領,既可做為衣服的一部份亦可成為頸鏈飾品,令穿者增添獨特的時尚元素。


Kenny Li excels in integrating fashion, graphic design, and photography. Li believes that works should have both practical and artistic qualities while expressing charming personality. In 2012, Li founded FAVE by Kenny Li, a fashion brand which presents a series of everyday products with an eco-friendly and down-to-earth mindset. Apart from clothing, Li also presents exquisite handmade collars using environmental-friendly materials and technologies such as laser cutting. The collars come with a design that merges clothing with accessorizing, adding stylish twists to outfits.

Kenny Li has been awarded various prizes over the years, including the Design For Asia Award in 2015, the fashion/accessories award of “40 Under 40” organized by Perspective magazine in 2013, and Global Design Award and HK Best Award by Hong Kong Designers Association in 2012. Li is currently a member of the Hong Kong Fashion Designers Association and Hong Kong Designers Association. Not only has Li been invited to Paris, Copenhagen, Tokyo, Shanghai, Beijing, Taipei and Singapore Fashion Week, but his works are also displayed in Le Triennale Museum, Milan, and among the permanent collection of Hong Kong Heritage Museum and China Silk Museum.


作品介紹 About the Artworks




Cheng-Tsung Feng


The Trap





Bamboo, Rattan, Stainless Steel

Dimensions Variable



《筌》的創作源於范承宗曾向邵族長老Masawsang Lhkashnawanan學習傳統魚筌的製作,魚筌是置於河流中的傳統竹製捕魚陷阱,材質常為藤與竹,以絞織編法縛紮,魚蝦進入後無法逃離而被捕獲。在2017年於日月潭創作《筌屋》之後,范承宗開始收集與研究臺灣各族群的魚筌,企圖尋找跨族群間的共同造物文化語言。其造形與尺寸主要受在地「材料」、目標「獵物」與放置的「環境」等變數影響,他嘗試將這項無形資產視為一種會生長變形的活體,以當代館百年建築做為環境,將獵物視為觀眾人群,看看這項傳統智慧將會於此生成怎樣的形態。


The inspiration of The Trap comes from Feng’s learning of making fish traps from the Thao elder, Masawsang Lhkashnawanan. This type of traditional fish traps is usually made with bamboo and rattan, using the technique of twill weaving. Once fish and shrimps enter the traps, they will be trapped and cannot escape. After creating the work, entitled Fish Trap House, by the shore of Sun Moon Lake in 2017, Feng has been researching and studying different types of fish traps used by Taiwanese ethnic groups, hoping to find a common cultural language of making objects shared by these groups. The shape and size of fish traps are mainly determined by the “material” that can be locally gathered, the targeted “game,” and the “environment” that the traps are set in. Feng views this invisible cultural asset as a kind of living, transforming organism, and sees the century-old museum architecture as the environment while the visitors being the game. What he is curious about is what form this traditional wisdom will grow into in this site.

For the Thao people, the fish trap is a useful, practical object originated from ancestral wisdom. In a subtle way, The Trap explores the relationship between the art museum and culture, and examines whether it is the museum that is placed within culture, or culture is inside the museum.


入口形象區Entrance Hall



《XXXX 系列─殼 / 百步蛇紋剪接印花簍空長洋裝》

XXXX Series─Shell / 100 Pacer Viper Pattern Long Dress


45 x 40 x 220公分
45 x 40 x 220 cm
《XXXX 系列─殼 / 百步蛇紋剪接印花簍空長洋裝》此作運用簍空的網布,表現蛇經蛻殻後的蛇皮,具有半透明又兼有鱗片肌理的手感,以此象徵脫胎換骨的全新自我。而臉上配戴著掛有不規則鐵絲頭飾的面罩,極簡且具符號性,使整體增添部落感的意象。

XXXX Series─ Shell / 100 Pacer Viper Pattern Long Dress uses the fabric’s unique feature to create an image of snake skin. Semi-transparent and with a texture of shed snake skin, the work symbolizes a renewed self. The irregular head piece made with wires is minimalistic and symbolic, adding a sense of tribal beauty into the work.




Yang, Wei Lin


Ask Indigo─ Seven Character Quatrain






Books, Indigo Dyeing

Dimensions Variable




Ask Indigo─ The Rhetoric of Indigotic Rags


Cotton Cloth, Indigo Dyeing, Cotton Thread, Readymade
Dimensions Variable

Ask Indigo─ Foiling

Cloth Wheel, Indigo Dyeing, Cotton Twine, Pulp, Disc
Dimensions Variable



The installation series of Ask Indigo unfolds a story about this historic art through a trilogy—Seven Character Quatrain displays a textual representation; The Rhetoric of Indigotic Rags revisits the labor work in the process of making indigo dye; and Foiling depicts an olfactory exploration of indigo.

“Indigo’ is a natural dye extracted from a plant called indigotin. One needs to first put the leaves through fermentation, and then creates the dye by processing the dye with limewater.”

           – Chinese Technology in the Seventeenth Century, Song Yingxing



In the gallery, twenty-eight books are suspended in midair creating in a grid of four rows and seven columns that form a textual representation of Ask Indigo—Seven Character Quatrain. The dyed indigo books are shown as a sculpture, unfolding a poem about the interpretation of time and allowing viewers to immerse themselves in the act of reading. Audiences can appreciate the work from afar and up-close to perceive the long history1 of indigo and the nostalgic feeling it exudes as well as its decline and rebirth.


穿插其間或懸掛壁面的《問靛─藍縷的修辭學》,八張棉布來自製作藍靛過程中過濾石灰水的濾布,石灰質的浸透沉澱滋養了時間的色澤,再以綿延交錯曲折纏繞的縫繡線走過另一層書寫的意圖。楊偉林以編織者自況,將敘事性格以編織手法在結節、勾連、層疊、滲透之間,巧手化成纖維物語,交織出一種自我的書寫與解構,自我的縫綴與紋飾,其各種物件形構擬像如:類古字畫的界格書寫、結繩記事的鳥蟲書、仿古的赭色長軸,似乎將書法結字消解為最初的線質;而隱沒於針針刺繡的筆筆法書,是現代草聖于右任書寫―「江山如有待 天地更無私」的美好溯往;緊緊捆紮結球纍纍的是隱藏著鹿身花紋待解的「鹿子絞」…。2這些透過藝術家親自勞動的本身,去再現對自然與手工的崇敬,更是以實踐去還原藍靛的故道與新徑,於華麗轉身之中反覆錘鍊,重新註解。

Ask Indigo─ The Rhetoric of Indigotic Rags, another work installed amidst the first work and on the walls, is consisted of eight pieces of cotton fabric used as limewater filters in the process of creating indigo dye. Due to the calcium carbonate in the water, the fabric reveals a tinge of time. The artists interweave sewing thread to create another layer of writing. Viewing herself as a weaver, Yang conveys the narrative through knots, connections, layers and interlacing. Using her hands, she tells a story of textile, producing a unique writing and deconstruction of the self with creative sewing and patterns. She uses various objects to represent the grid of writing that looks similar to ancient calligraphy, the bird-and-insect script with knots, and archaic auburn scrolls, seemingly breaking calligraphy and knotting down to unadorned, simple lines. Yang also uses embroidery to mimic calligraphic strokes, showing a nostalgic representation of a couplet, “The natural landscape its admirers awaits. The firmament and earth unfold in a selfless way,” composed by the master of modern cursive calligraphy, You-Ren Yu. When untied, the fabric once tightly tied up in a spherical shape will reveal the kanoko shibori, 2 a deer skin pattern. The artist uses her own labor to represent nature and her respect for the handmade art. Moreover, her artistic practice has brought back the historic methods of indigo dye while introducing new approaches, giving this ancient form of art new meanings through a repeating yet refining process.



Ask Indigo─ Foiling aims to invoke the memory of the smell of the indigo dye. This work uses buffing wheels, which have been used in the polishing process of industrial production, and combines them with rocks made of paper pulp colored with indigo dye. Hanging from the ceiling, the buffing wheels seem to form a path of indigo dye that later generations can follow. When audiences walk into the space, the buffing wheels are like drops of rain that have fallen along the path, invoking the memory and smell of fermentation and materializing the history they have witnessed.






1.This history of indigo dye can be traced back to its beginning in the Zhou, Qin and Han dynasties, and its flourishment in the Tang and Song dynasties. The 17th and 18th century witnessed the Age of Discovery and its subsequent colonization. The Dutch occupied Taiwan; and in the historical record, they planted indigo. From 1661 to 1662, Zheng Cheng-Gong defeated the Dutch and immediately developed agriculture as he became the ruler of Taiwan. In 1736, it is stated in Record of Emissary to Taiwan that indigo dye has been one of the many trade goods exported to the mainland. In 1875, the trade reached its peak, and the techniques of making indigo dye had spread to local places. In historic towns, such as Tainan, Lukang and Monga, dye-houses and fabric shops were opened, proving the glory of the indigo dye industry. In the 1930s, Taiwan underwent the process of modernization, textile industry replaced traditional weaving and dyeing industries, and indigo dye began to decline. In 1973, Taiwan Provincial Handicraft Research Institute was founded. The institution was later renamed National Taiwan Craft Research and Development Institute, and has been promoting the development of cultural and creative industry. In 1995, official restoration of various species of indigo plants began; and in 1996, the method of precipitation for making indigo was established, restoring the quality of Taiwanese natural indigo dye. In 2005, the Institute founded Taiwan Nature Indigo to advocate the cultural concept of natural indigo until the present day.

Ma, Fen-Mei. “The Changes and New Development of Indigo Dye Industry in Taiwan.” Taiwan Historica. Vol. 61. Iss. 2, p. 159.

2. Kanoko shibori is a type of Japanese tie-dye. It is known for its orderly pattern, which is similar to the deer skin pattern. It is mostly used on kimono fabric.




Tsun-Ping Chen


Floral Taiwan • Blooming Spring






Mixed Media

Dimensions Variable



Blooming Spring symbolizes Taiwan’s pleasant climate with spring-like seasons and wonderful blossoms. It also suggests diversity and tolerance to adapt foreign elements and a resilience force of life. The artist uses this work as a starting point to reinvent Taiwanese floral patterns. Through incorporating various elements, from traditional glove puppet stage drapes and puppets to lighting decorations, cushions and window curtains, she retraces her journey of studying traditional floral cloth, with its rich colors and patterns, to explore the distinctive aesthetics embedded therein and rediscover the cultural genes that are characteristic of Taiwan. The combination of a century-old theater stage, newly designed puppets, seats wrapped in floral cloth and the floral patterns of Taiwan’s indigenous plants creates a dramatic tableau informed with diverse interpretations of different time periods.


Glove puppetry, also known as hand puppetry, is one of the most iconic and representative Taiwanese folk arts as well as one of the three major forms of puppetry in Taiwan, together with shadow puppetry and marionette. It was introduced into Taiwan from Zhangzhou, Quanzhou and Chaozhou in the mid-nineteenth century, and has evolved into its modern look over the past century. Endeavoring in bringing back this historic art form, which has been known as the art that “tells centuries of stories in a few lines, and deploys thousands of soldiers with ten fingers,” Chen hopes to re-introduce glove puppetry into the life of modern adults and children by developing and designing DIY children’s toy, puppets and toy figures so that the goal of both reinventing and reintroducing the tradition can be achieved.


In the gallery room, audience will see the wallpaper with prints of local flowers and plants in Taiwan from different seasons, which Chen has gathered and illustrated while doing field studies. With the floral wallpaper as a background, the artist displays collage and quilt works of old floral cloth; a combination of floral cloth and patterns that conveys the new interpretation of mixing legacy and innovation. The organic, diversified lives of Taiwanese floral cloth as well as its wide range of patterns have absorbed artistic elements of different times and cultures, embodying a unique pop style. From the floral cloth, one seems to glimpse into the whole world; collectively, they delineate a floral, diverse landscape of co-existing cultures. From tradition to nature, and from nature to tradition, the floral cloth and patterns witness the positive cycle and beauty of a cultural ecology. Indeed, our life is growing into its distinctive existence amidst this background and landscape interwoven with traditional culture and beautiful nature.




Ya-Chu Kang


Everything about Cotton is about Cotton


Cotton, Cotton Cloth, Thread, Photography, Audio, Readymade Objects, Mixed Mediums
Dimensions Variable


In the installation, Everything about Cotton is about Cotton, Kang makes use of cotton, which is closely related to our daily life but largely ignored, to unfold the complex layers of the relationship suggested by the title. The photographic work of the cotton fields speaks of the cycle of material resources, labor and unreasonable exploitation in the industry; the album with images and descriptions reveal stories of objects associated with cotton in countless ways; the soft sculpture that simulates cotton plant and cotton plant bugs addresses the power, political and economic history about cotton.

其中,印度聖雄甘地(Mahatma Gandhi,1869-1948)在獄中發明的提攜式手搖紡紗機,基於印度人民不願再從英國商人的手中買回自己出產的棉花所製成的棉布,為此號召國人自己生產棉布以抵抗資本主義鏈結的貿易暴力。透過象徵民族主義運動的紡紗機,除了織機本身輪軸的連動意象,藝術家刻意由中心向外拉出物件脈絡的指引線,以此作為綜觀全球現代化的普遍現象,而以棉布為材質形塑的棉花植株與延伸出的棉線、棉球等,呈現擴散爆炸的視覺感。藝術家更以自然植物與害蟲之間的關係,透過印度紙鈔為媒材摺疊出的棉盲蝽昆蟲,深入探討材質背後所隱含的歷史觀。此作品所表述的不僅是棉花跨越多個世紀的檔案與文件,更是此媒材與創作者所連結出的溫度與想像,康雅筑藉由棉來追尋關於生命萬物的本質與勞動存在的價值。

On view in this work is also a charkha, a portable, hand-operated cotton-spinning machine reinvented by Mahatma Gandhi (1869-1948) when he was imprisoned. At that time, Indian people were no longer willing to purchase cotton cloth from British merchants, which were made from cotton they grew. Therefore, Gandhi appealed to the Indian people to produce their own cotton cloth as a way to fight against the commercial violence stemmed from capitalism. The charkha, therefore, became a symbol for the nationalistic movement. In addition to the image of the machine’s wheels, which suggest interlinking relations, the artist also visualizes the pervasive phenomenon of globalization by connecting objects with threads radiating from the wheels, using cotton plants fabricated from cotton cloth, cotton thread and cotton balls to create an explosive vision. Moreover, Kang also folded Indian bank notes into cotton plant bugs to discuss the relationship between natural plants and pests as a metaphor that hints at the historical view suggested by the material. Therefore, this work not only displays the archive and documents about cotton from past centuries, but also manifests the warmth of and imagination about the material unfolded by the artist. In short, Kang has used cotton to pursue the nature of life and all beings as well as the value of labor.




Sumi Dongi


Me Under the Starry Sky


350 x 120 x 130公分
Cyperus alternifolius L., Wood, Stone, Cotton, Thread
350 x 120 x 130 cm



“The Faho is woven into a bed under the starry sky. When I was young, I had many whimsical imaginations about the universe…As I gradually fell asleep under the stars, I see Faho swaying in the water fields in my dreams and hear a mixture of sounds of my grandmother’s weaving, singing, and the rattling of stones, all beautiful elements of life that are now lost.”

This lyrical monologue Me Under the Starry Sky is artist Sumi Dongi’s praise and lament towards earth and the universe, nature and tradition, past and future through 






Riyal Big Light+Riyal Light    

56 x 56 x 58公分 
35 x 53 x 38公分
Cyperus alternifolius L., Iron
56 x 56 x 58 cm
35 x 53 x 38 cm


Cidal Light

28 x 28 x 29 公分
Cyperus alternifolius L., Iron
28 x 28 x 29 cm


The Umbrella Plant originated in Africa and is commonly planted in aquatic pools. The appearance of the plant resembles the structure of an umbrella, hence the name. Umbrella Plants are found in the clear waters of terrace fields and are used as traditional weaving material for Amis people living in the coastal areas.Mats made by Umbrella Plants have become an everyday life necessity, while the craft of weaving straw mats is a common skill among the women of the tribe.

《浪草燈》以鐵鑄為框架,結合如浪起伏般的線條造型,加上黃銅燈的照明設計,呈現層層的迴轉之美,具有現代感的簡約風格;而《旋草燈(Cidal Light)》,Cidal在阿美族語中是太陽的意思,製作時需要捲得最緊密、直挺且均勻的輪傘草為基材,透過東海岸日曬的輪傘草,呈放射狀旋轉姿態,猶如太陽暖暖地照射一般;《旋草燈》可當吊燈亦可倒過來做為桌燈。嘎瑪魯岸的創作,不過度著墨於在地的傳統符號;以探詢來自土地的溫柔力量,在部落文化元素與設計理念之中,回歸素材本身與製程,展現素材特性、質地與美感,而輪傘草之於阿美族文化,其自身即傳遞著美好的故事。

Riyal Light is created with cast-iron as the frame, while the curved design is inspired by waves of water. The brass lighting displays the layering beauty of curves and modern simplicity. As for Cidal Light, Cidal is the Amis word for sun. The Umbrella Plants are curled tightly together, straight and evenly. The plants are dried by the sun of the East Coast and are presented with a swirling form, just like sunshine scattering on the land. Cidal Light can either be used as a chandelier or up-side-down as a desk lamp. The works of Kamaro'an do not draw too much attention to the traditional symbols of local culture, but rather depicts the gentleness of the land, using tribal culture and design as a way to return to the material and production process. These works showcase the qualities, texture, and beauty of the material, displaying the status of the Umbrella Plant among Amis culture.


The works of Kamaro'an originate from the pureness of the soil and the heart. In the hands of Sumi and fellow members of the tribe, the Umbrella Plant is no longer merely a small aquatic plant but filled with economic value that encourages members of the tribe to cherish the land and protect the water resources. These works also inspire more beautiful folk art, humbly dedicating efforts to the legacy of traditional tribe culture.


2樓西側樓梯Western Stairway 2F

林淑鈴Shu-Ling Lin


White Ocean



Mixed Media
Dimensions Variable


White Ocean is created with packing strip. Making use of its excellent transmittancy, lightness and simpleness, the artist combines packing strip with mixed media, with projection installation and light to create a “shining sculpture.” This work was inspired by the artist’s personal experience. When the project of building a tourist dock in Nanliao Harbor on Green Island commenced, various reasons, such as the construction dirt and the warming sea water, led to a beautiful pastel-colored burst at the habitat of stony corals. At the end of the white corals, the colors of pastel pink, orange, green and blue could be seen, which were a result of dying symbiotic algae on the corals. These charming colors announced the arrival of death, leaving us what was left of fading lives. Lin witnessed this incredible burst before the death of corals and transformed this memory into White Ocean.


The work represents the form of bleached corals. Through slow-paced weaving and steadfast labor, the artist makes continuous folds radiating from the center of a geometric structure, gradually unfolding an imagination of intimate connection with the ocean. From the artist’s statement, we can see how she has re-examined her relationship with nature: “On land, where high-rise buildings are countless and people can be found almost everywhere, the simple act of breathing is not perceived and even taken for granted. However, when one dives into the ocean, one can clearly perceive how tiny human beings are and realize the vastness and abundance of nature. Each breath is so precious. What I felt in the ocean has been internalized as a part of my life. Every time I weave, make a pottery work, or create any other types of artworks, the colors I see, the forms that surface in my mind and the weaving movement of my hands are unknowingly informed with the richness and beauty hidden under water.”



賴純純Jun T. Lai


Youthful Dream


Mixed Media Installation, 
Stainless Steel, Plexiglass 
Dimensions Variable

Youthful Dream is one of the core pieces that expounds Jun T. Lai’s ocean aesthetics in the series of Youthful Island. Since the year of millennium, Lai has been living in Dulan, Taitung. As she embraces the island of Taiwan in her voyage of life, she has immersed herself in nature with her great mountains and seas. Her harmonious view of being unified with nature enables her to look into the youthful mind and express her creative will.


With video, projection, sculpture and crystal ball, the installation creates an immersive, theatrical space informed with oceanic imagery. Sound, light and shadow interlace and permeate the space with the stainless steel sculpture that symbolizes the historic origin of the Taiwan island, the plexiglass that forms the sunlight and clouds, and the crystal balls that hint at a future with dreams and wishes. Reflecting and overflowing with iridescent light, the installation is suggestive of its environment and itself as if it is the coagulation of collective emotions and memories from a youthful dream—a light, floating and fluid texture that embodies the dialogue between art and land in an understated, light-hearted manner. It seems to delineate the vicissitudes of generations and eras as well as superficial yet richly diverse cultures surfaced and overwhelmed in the fateful historic currents on this island of Taiwan. Through Youthful Dream, the condition and situations of this youthful island are revealed. In a way, the work praises that youth has become part of our culture, environment and reality; and in the meantime, it radiates the diversified exuberance and express the quality of the youthful culture born from this precious island.


204-203展間R204- R203


Sabra • Andre



His 2018 Spring / Summer collection, entitled XXXX, is informed with the pattern of the hundred-pace snake, 4 which is the Paiwan symbol of the ancestral spirit. He incorporates the pattern into print and embroidery, using the traditional technique of crosses stitching commonly seen in indigenous textile to extend his exploration of ethnic culture that takes its root in the belief of animism. The artist also adds his enthusiasm in cosmic mysticism and the occult into his work, incorporating the Byzantine or alchemic geometric shapes into his work and demonstrating a Jungian transformation of symbolic signs. Such approach to connecting the memory and arts of the past and future has given birth to his signature and mesmerizing patterns.





4.In the ancient time, a goddess lived in Amawang, and accidentally fell into a pit from a swing and descended down to the human world, where she came to know a man Pulaluyaluyan. One day, the goddess went out to get some water for the thirsty Pulaluyaluyan, and picked up a hundred-pace snake egg and a brown-spotted snake egg. Born from the former was the ancestor of the tribal leaders, and the latter the ancestor of the commoners. The children of triballeaders and commoners had only one nostril and half a mouth; therefore, they were forbidden to marry each other. At the same time, only the noblemen were allowed the right to decorations, which they applied to their houses, clothing and daily objects. Tattoo was also one of the their privilege, whereas bronze knives, glass beads and pottery pots were important objects that only they could possess. One important thing was that commoners were not allowed to use the pattern of the hundred-pace snake, which noblemen used on their clothing, houses, daily objects and sculptures.

The Paiwan Pattern of the Hundred-pace Snake.” Taipei: Torch of Wisdom Monthly, iss. 580, p. 14.


《XXXX 系列─描 / 野獸派手繡十字鉛筆裙》

XXXX Series─ Draw / Fauvist Hand Embroidered Cross Pencil Skirt


45 x 40 x 190公分




45 x 40 x 190 cm



This work applies thick black outlines and cross stitch to fill in shapes, expressing the Fauvist spirit through exquisiteness within roughness.


《XXXX 系列─紋 / 圖紋飛鼠袖上衣》

XXXX Series─ Veins / Patterned Tops

45 x 40 x 190公分
45 x 40 x 190 cm

Mixing cross stitch, printed pattern, and layered patchwork, the overall work expresses a quality of softness and lightness through this off-shoulder short dress.


《XXXX 系列─十 / 變形十字紋流線上衣》

XXXX Series─Cross / Deformation Cross Flow Line Clothing

45 x 40 x 190公分
45 x 40 x 190 cm

This work recreates the cross pattern into a semi-Paisley pattern.


The Paisley pattern originated in Ancient Babylon5 and was later spread to India. The splendid pattern is formed with round dots and curved lines, shaped like a waterdrop. Due to its resemblance to the leaf of the Botree, it has also become known as “the tree of life” and is commonly seen in the decorations throughout India. The pattern was later found in English town Paisley, and soon became a popular pattern among European products, hence is later known as the “Paisley Pattern.” The pattern underwent multiple transformations as it spread to different lands, just like Sabra•Andre, merging the indigenous spirit with different cultures.


5.〈全球經典花色圖騰―佩斯里漩渦 變形蟲圖騰〉,臺北:漂亮家居雜誌,157期。

5.‘A Classic Global Pattern: The Paisley Pattern,’ Taipei: My Home Magazine, vol. 157.


《XXXX 系列─飄 / 百步蛇圖騰斗篷》

XXXX Series─Flutter / 100 Pacer Viper Pattern Cloak

45 x 40 x 190 公分
45 x 40 x 190 cm

The 100 Pacer Viper Pattern Cloak was inspired by the depictions of the 100 pacer viper seen on Paiwan ceramic pots, expressing a quality of liveliness and motion.


《XXXX 系列─蝶 / 十字蝴蝶印花圖騰》

XXXX Series─ Butterfly / Cross Butterfly Totem Print

45 x 40 x 190公分
45 x 40 x 190 cm


In Paiwan culture, the butterfly is a symbol of the fastest runner. Sabra • Andre transforms the cross patterns and cleverly applies it to the arrangement between black and white, creating harmony between the contrasting colors and patterns.


《XXXX 系列─紋 / 百步蛇印花圖騰長裙》

XXXX Series─Veins / 100 Pacer Viper Pattern Long Skirt


This work is inspired by the Paiwan pottery pot legend.6 It uses the pattern of hundred-pace snake from Paiwan traditional pottery pots and transforms their form and mythological story into the abstract print on the flowy skirt, which creates swaying movement of the pattern when the wearer walks. Additionally, the collar of the top is decorated with simplified diamond-shaped pattern7 drawn from the back of the hundred-pace snake in a radiating manner, forming an elegant and elaborate contrast with black and white.



資料來源: 臺灣原住民族文化知識網:http://tcgwww.taipei.gov.tw


資料來源: 臺北原住民數位博物館。官網:http://www.dmtip.gov.tw

6.In the Paiwan mythology, the hundred-pace snake hatched an egg in a pottery pot, which was placed next to an ancestral spirit column. The first ray of sunlight from the east always shone through the skylight of the stone-slab house unto to the ancestral spirit column and the pot. With the warmth of the sunlight, the pot gradually grew, and from it, a male infant was born after ten months. The infant grew up and was called respectfully “Mamazangilan” (meaning “tribal leader”) by the people.

From the website of Indigenous Peoples’ Culture and Knowledge: http://tcgwww.taipei.gov.tw

7.The decorative pattern of the hundred-pace snake is very common in Paiwan crafts, such as the snake’s pointed head, pursed-up mouth, wide chicks and triangular spots on the back. Diverse variations are also derived from the forms of the snake body, which can be curved, coiled up or in a combination of multiple snakes. Additionally, the snake’s spots have also been extracted and simplified into triangular, diamond and square shapes or a grid pattern, which were only used by the noble families in the tribe. The snake pattern is often combined with head pattern, portrait pattern, deer pattern and pot pattern, among which the first two have been the most common ones.

From the Digital Museum of Taiwan Indigenous Peoples: http://www.dmtip.gov.tw


《XXXX 系列─纏 / 強烈十字繡洋裝》

XXXX Series─Wind / Strong Cross Stitch Dress

45 x 40 x 190 公分
45 x 40 x 190 cm

將十字繡的意象強烈化,形成雕塑的輪廓,彷彿將平面走向了雕塑空間。猶如美國雕塑家亞歷山大.卡爾德(Alexander Calder, 1898-1976)將靜態雕塑走向「動態雕塑」的輕盈與律動。

Emphasizing the pattern of cross stitches “XXXX”, the work forms the outline of a sculpture and seems to transcend two-dimensional space, just like US sculptor Alexander Calder (1898-1976), revolutionizing sculptures into mobiles that are filled with lightness and rhythm.


《XXXX 系列─鱗 / 百步蛇穿繩簍空洋裝》

XXXX Series─Flake / 100 Pacer Viper Pattern Dress

45 x 40 x 190公分
45 x 40 x 190 cm


Hollow mesh is used in the work to portray a snake that has just shed its skin. The translucent and flake-like texture represents rebirth.


《XXXX 系列─縫 / 手工十字繡圖騰上衣》

XXXX Series─Sew / Hand─Stitch Totem Shirt


45 x 40 x 190公分




45 x 40 x 190 cm




This work uses the texture of mesh to create patterns that resemble snake flakes. The cross stitch is woven freely between the pattern arrangements, while the folds of the collar, the design of the tassel, and the drawstrings on either side create a casual and relaxed style.


《XXXX 系列─跡 / 浮雕裝飾合身洋裝 2》

XXXX Series─Trace /Decoration Dress 2


45 x 40 x 220公分




45 x 40 x 220 cm




Using cross patterns to express the style of ink painting, added with small rounded textiles to create folds, Sabra • Andre creates the image of a snake moving between the ink. This work applies the concept of blank spaces in fashion design.


《XXXX 系列─跡 / 浮雕裝飾合身洋裝 1》

XXXX Series─Trace /Decoration Dress 1


Using cross patterns to express the style of ink painting, added with small rounded textiles to create folds, Sabra • Andre creates the image of a snake moving between the ink. This work applies the concept of blank spaces in fashion design.


《XXXX 系列─線 / 十字圖騰繡澎袖裙裝》

XXXX Series─Wire / Cross Totem Embroidered Sleeve Dress


45 x 80 x 190公分




45 x 80 x 190 cm



This work re-presents the contour of ceramic pots while using cross stitch to mimic the decorations on the surface.


《XXXX 系列─繡 / 裝飾縫繡鉛筆裙》

XXXX Series─Sew / Decorative Hand Sewing Pencil Skirt


The surface of the skirt is inspired by the skin texture of snakes. With deliberate decorations and handmade details, the piece handles complex textures with simplistic and effective methods, creating harmony between simplicity and complexity.



《織 / 泰雅織布機》

Weaving / Taiya Weaving Machine


80 x 90 x 280 公分
Thread, Net
80 x 90 x 280 cm


This work is Sabre · Andre’s latest work in 2018, which is inspired by his research and study of indigenous people’s weaving culture. For this work, he visited the indigenous art workshop in Xiulin Village, Hualien, where the Truku 8 people live. Attracted to the structural contour of Atayal weaving machines and Atayal people’s yarn and thread, the artist transforms and extends what he sees into this creative work of fashion design that conveys the unique warmth of handcrafted art.



資料來源:國立臺灣史前文化博物館 電子報http://beta.nmp.gov.tw/enews/no130/


8.The Truku people used to be considered part of the Seediq tribe, a subsidiary tribe of the Atayal people. As time changed and the identity awareness of its community evolved, the Truku people initiated a movement to rectify its name, demanding to be recognized as an independent people. On January 14, 2004, the Truku people were officially recognized by the Government of the Republic of China, and became the twelfth indigenous people in Taiwan.

Source: E-news of the National Museum of Prehistory http://beta.nmp.gov.tw/enews/no130/



Sabra • Andre Series



《沙布喇‧安德烈同名系列─茅 / 排灣族茅草屋》

Sabra • Andre Series─Thatch / Paiwan Thatched Cottage



45 x 40 x 190公分


Feather, Textile

45 x 40 x 190 cm



《沙布喇‧安德烈同名系列─簍 / 排灣族竹簍》

Sabra • Andre Series─Raft / Paiwan Bamboo Raft




45 x 40 x 190 公分



45 x 40 x 190 cm



《沙布喇‧安德烈同名系列─珠 / 排灣珠飾》

Sabra • Andre Series─Beads / Paiwan Beads Decoration




45 x 40 x 190 公分


Textile, Beads

45 x 40 x 190 cm




The three classic works of the Sabra • Andre Series were showcased at the artist’s graduation presentation. Inspired by the imagery of Paiwan thatched cottages, the structure of bamboo rafts, and bead decorations on traditional clothing, the works interpret the spirit of traditional Paiwan culture through fashion.



盧聲前Singchin Lo


《給‧ 與現在》

Pass and Present


Printed Fabric, Leather, Ceramic, Mixed Media
Dimensions Variable


Installation work Pass and Present is the collaboration between Singchin Lo, third-generation owner of Yuet Tung China Works Joseph Tso Chi Hung, ceramic artist Joey Leung, and Louis Sai Keung Lo. Singchin Lo fully combines the patterns of Guangcai Painted Porcelain and ceramic with fashion design, deliberately hiding the installation within the regular atmosphere of a dining area to create a space that allows viewers to experience the beauty of crafts in everyday life. As a popular art form throughout Cantonese Yum Cha Culture, the designs of Guangcai Painted Porcelain and patterns of everyday utensils are transformed into fashion elements for clothing design. The artworks create a lively world that involves various materials: the thick garments and chiffon display decorations through dyeing and embroidery, with playful blue-and-white bears scattered between the different shapes. The image of the bear is Lo’s depiction of childhood memories of the Hong Kong people. Apart from fabrics, ceramic and glass are also included, because the artist believes that the charm of Guangcai Painted Porcelain can only be expressed through ceramics. The ceramic collars are classic patterns coated with transparent glaze, matte textures are used to portray the softness and creases of clothing, while the girdle and handbag are both designed with delicate patterns. This work combines the various elements of different materials, expressing the essence of contemporary art while echoing the fusion of Eastern and Western cultures in Hong Kong society.


2樓中樓梯/Central Stairway 2F

林淑鈴Shu-Ling Lin


Splendid as Spring Flowers






Splendid as Spring Flowers is made with packing strip commonly seen in our daily life; yet, the artist is not limited by the forms of traditional weaving, and views weaving as an alternative medium for making sculptures. In sculpture-making, clay molding is like addition while sculpting equals deletion; in the art of weaving, there are also various methods: circle weaving creates symmetrical circles; square weaving creates continuous squares; and hexagonal weaving is somewhere in between. Like the reproduction of fractal forms in biology, weaving allows identical forms to be reproduced in the structure, freely extending organic curves without limit until the entire surface is covered with unending patterns. Nevertheless, behind this appearance of unfettered creation, there lies careful calculation, which is always necessary. Breaking free from the traditional limit of pattern counting, which is usually applied to two-dimensional work or the making of symmetrical forms, Lin has extensively experimented in weaving and is able to create free forms that represent the splendid spring blossoms.




Meiyi Cheung


Lost in Procession Series


Lost in Procession Series discusses human being’s loss of innate perceptibility and sensation as the world becomes more and more convenient with technological advancement. Observing nature while exploring topics of individual freedom, memory, vision, audio and tactile perception, Meiyi Cheung reflects upon the potential possibilities of combining fashion design and traditional crafts. In her work, she has used various unusual materials and objects, such as copper sheet, copper wire, copper mesh, washable paper, Merino wool, soundproofing foam and electronic parts, integrating technological and natural materials. Additionally, instead of traditional stitching, she uses brass bolts and nuts to assemble her works without using needle and thread. Through an extensive handmade process, she aims to introduce a new perceptual dimension to all. Inspired by the handmade process and the wisdom of different master craftsmen, including braziers Luk Shu-Choi and Luk Keung-Choi as well as Chow Yin-Wen who produces head pieces for Cantonese opera, Cheung has experimented with the characteristics of materials and their application, and created unique series of works.



Lost in Possession─Mother Nature


Merino Wool, Brass Mesh, Brass Bolts and Nuts, Electronic Parts, Glass Beads, Copper, PVC

When trees and forests are replaced by electric towers and launch stations; running rivers are replaced by chemical liquids; lands are replaced by human farms and parks. Is our mother nature still natural?



Lost in Possession─Enwrapped Sensation


Micro Fiber Suede, Copper Mesh, 
Brass Bolts and Nuts, Faux Hair, PVC


Inspired by human skin and nerves, this work depicts human’s loss of tactile perception as we have grown accustomed to relying on technology; it is just like we are isolated by layers of copper mesh. Replacing traditional stitching of needle and thread with bolts and nuts and connecting each mesh layer with copper stakes, the artist creates a visual effect of flowy mesh that echoes the swaying skirt made with wigs, conveying illusory, fictitious tactile perception.



Lost in Possession─ Vision in Mask


PU, Polyester Mesh, Brass Bolts and Nuts, 
Toy's Eye, Merino Wool, Electronic Parts, Polyester Felt, 
Copper Rod, Wool, Alloy, PVC

As we are using more and more advanced electronic equipment to record images, create videos, and know the world via Internet, how much of the real world have we overlooked? Seeing without perceiving has become part of our daily life as technology and Internet replace our eyes, striping us of our sight and vision.



Lost in Possession─ Beyond Memory


Washable Paper, Copper Mesh, Brass Mesh , Copper Bolts and Nuts, Copper, PVC

我們的記憶除了精確地存放於電腦中,還記得圖片中的氣味嗎?還記得文字背後的傷害嗎? 還記得上一次播放音樂時的天氣嗎?作品透過藍印技術,把植物輪廓印在可水洗紙上,輔以立體銅線植物花卉,試圖以不精準的記錄方式表達記憶裡的一草一木。

We try hard to store our memories in computers; yet can we still remember the smell in a picture? Can we still feel the hurt hidden in written words? Do we remember the weather the last time we listen to music? Using cyanotype printing, the artist records the shapes of plants on washable paper, accompanied by bouquets made of copper mesh, attempting to present the plants in the memory through an unprecise recording method.



Lost in Possession─ Caged Freedom

Merino Wool, Electronic Parts, Glass Beads, 
Copper Bolts and Nuts, Copper Rod, Brass Rod, Wood Beads, PVC 

The artist prints handdrawn ink landscape on wool with digital printing technology, and uses electronic parts and glass beads to represent trees, flowers and grass. This seemingly bountiful nature is, in fact, an artificial, virtual world. We seem to have autonomy that enables us to create and think freely; however, this freedom is subject to all kinds of software functions. Internet and information control our life, and we are living in a virtual cage without realizing it.



Lost in PossessionMoving Statue




PU Leather, Copper Mesh, Electronic Parts, 
PU, Merino Wool, Copper, Glass Beads, PVC

Sitting in front of the computer every day, we only need to move our fingers to be able to travel, learn, work and shop. Perhaps we do not need nimble limbs and bones anymore. What we only need is to enter the virtual world.



Lost in Possession─ Receiving Mode

Brass Mesh, Brass Bolts and Nuts, Sound-Absorbing Insulation Cotton, Merino Wool, Micro Fiber Leather, Electronic Parts, PVC


The world is flooded with information and different sounds. Our receiving mode is switched on all the time so that we do not miss something and fall behind. However, we are not able to tell what is true and fake, or right and wrong. Instead, we follow others blindly; we communicate with others through typing on the keyboard whereas, in reality, we are just talking to ourselves. This work uses soundproofing foam and disconnected intercom which receives no signals Like our receiving mode has crashed, we are only living in a world of our own words.




Koyo William



Finding Balance in Life─ Destroy




Polyester, Metal with Gold Foil, PVC Gold, Cotton, Polyester Branches with Gold Foil, Plastic, Glass

Finding Balance in Life─ Reborn



Plastic, Metal, PVC Gold, Cotton, 
PVC Gold with Gold Foil, Metal with Gold Foil, Glass


Finding Balance in Life─ Destroy and Finding Balance in Life─ Reborn denote the concept of endless natural cycle, in which life continues to renew and revolve rhythmically. Through this installation, the artist explores the variations of yin, yang and the five elements. Collaborating with Hong Kong gilding artisan Lai Yui-Kwong, Koyo William has realized that the essence of this unique art lies in the balance between time, temperature and humidity as well as how one could applying gold leaf with both precise strength and tenderness; all of which correspond perfectly to the philosophy of yin and yang and the five elements. Having being inspired by his discovery, he has thought outside the box and stopped using fabric but various materials such as gold leaf, metal, glass, plastic, tree branches, etc., to create his works of fashion design, forming a body of work that expounds the meaning of natural cycle through the five elements of gold, wood, water, fire, and earth.


The two works that symbolize “destroy” and “reborn” are respectively suspended in midair and freestanding on the floor. The torso is formed with metal armor and plastic material. The glassware filled with water in the front is a symbolic source of life, which is connected to the gilded tree branches below to create the form of clothing. With the water in midair and the withered yet gilded tree branches, Koyo William creates a distinctive contrast that beckons at how the concept of yin and yang as well as life and death corresponds to a person’s attitude towards life—the yin and yang of all things must match and adapt for everything to thrive, and things must be balanced as all things are interconnected.




Tricia Flanagan



Cricket Songs─ Late Autumn: Song of Dominion No. 1


Steel, Leather, Ceramic, Cotton, Electronics, Laser- Etched Wool Double Weave, Synthetic Fur, Cotton Lining, Cotton Hand Embroidery, Sublimation Printed Polyester Stretch Netting, Brass, Synthetic Wig, Bamboo, Electrical Wire, Speakers


Cricket Songs─ Late Autumn: Song of Dominion No. 2


Blue cotton T-shirt with Sublimation Printed Stretch Netting Sleeves, Laser-Etched Wool Double Weave, Brass, Gourd, Ceramic, Electronics, Cotton Braiding, Raffia, Synthetic Wig

Cricket Songs─ Early Autumn: Courting Song No. 1


Japanese Bridal Polyester Voile, Steam Pleated, Sublimation Printed,  Cotton Gauze, Bamboo, Electronics, Artificial Bird


Cricket Songs─ Early Autumn: Courting Song No. 2


Digitally Printed Tyvek, Laser-Etched Double Weave Wool, Raffia, Bamboo, Electronics, Cotton Braiding, Brass Cricket, Steel, White Polyester, Timber, Burned Jade, White Howlite, Lapis Lazuli, Brass

Cricket Songs─ Late Summer: Calling Song No. 1


Bamboo, Electronics, Brass, Japanese Bridal Polyester Voile, Laser- Etched Wool Double Weave, Synthetic Wig, Iron Weights, Electrical Wire, Speakers


Cricket Songs─ Late Summer: Calling Song No. 2


Ceramic, Brass, Cotton Braiding, Electronics, Blue Poly-Cotton Knit, Laser-Etched Wool Double Weave, Cotton Embroidery, Synthetic Wig, Rattan, Raffia, Electrical Wire, Speakers


Cricket Songs─ Mid Autumn: Song of Celebration No. 1


Skin Tone Netting with Heat Press Cricket Image, Laser- Etched Wool Double Weave, Steel, Electronics, Aluminum, Wood with Brass Inlay, Brass, Synthetic Wig, Bamboo, Raffia, Jute, PVC Coated Electrical Wire, Speakers

Cricket Songs Series


This collection is inspired by the fascination with keeping crickets and birds in Chinese culture. Different sorts of delicate artefacts have been derived from the art of keeping crickets as pets, including pots, cages and ticklers made from sandalwood, jade, ivory, ceramic or bamboo. Various artefacts were used for different seasons and served different functions, demonstrating the historic significance of crickets in Chinese history. The artist bases this collection on this cultural heritage and collaborates with Chan Chor-Kiu, a Hong Kong rattan weaving artisan, to combine the skills of rattan weaving and fashion design. Cricket Songs displays a fascinating collection that conveys the charm of different moments in the seasonal cycle.


The collection combines traditional and contemporary techniques, paying homage to the cultural practice of keeping crickets and the craftsmanship associated with it. Digital prints are combined with Shibori, a Japanese manual resist dyeing technique, and laser etching with embroidery to create the imagery of landscape. The lower hems of the skirts are embroidered with the pattern commonly seen on imperial gowns, celebrating the labor class with the noble embroidery decoration. Many components in the installation are handcrafted, such as the ceramic, smoke-fired, gourd-shaped cricket cages and brass neck rings. The clothing and the head pieces with bird cages seem to suggest a sense of leisure in the life of diligent laborers. In addition to visual elements, the artist has drawn on cricket chirping and ambient sounds to craft a unique soundscape. Each costume has a signature sound, forming a journey of seasonal soundscape guided by the songs of crickets and visual fashion.




Kenny Li



The Six Hues of Guanyin Series


The Six Hues of Guanyin Series is inspired by Kenny Li’s travels to the Dunhuang Caves. As Li followed the route of the caves, the artist discovered the Buddha paintings within the caves, such as the Guanyin (Commenly known as the Goddess of Mercy) , all display solemn and compassionate expressions. Because the depictions and clothing of the Buddhas change as the dynasties go by, a walk through the caves is like a feast across the thousands of years of history. This experience inspired Li to reinterpret the image of Guanyin by merging modern perspectives with the techniques of traditional paper-crafting master Kenneth Mo.


Through the spirit of traditional craftsmanship, Kenny Li applies different techniques, such as folding, printing, and paper-crafting, to transform culture into the clothing of Guanyin. Inspired by the caves of Dunhuang, the artist invites visitors to wander freely among the display, savoring the designs and the integration between traditional and modern cultures. This series presents six contemporary images of Guanyin: Traditional • Simplified, Garbage • Landscapes, Branded • Unbranded, A Girl's LifeA Boy's Looks, Green • Consumption, and Digital • Craft, each referring to the phenomena of contemporary Hong Kong.



The Six Hues of Guanyin─ Traditional • Simplified


Cotton, Viscose

Chinese characters have existed for thousands of years, but they have also undergone different changes in each dynasty. What kind of times are we experiencing now?



The Six Hues of Guanyin─ Garbage • Landscapes



Cotton, Linen, Spandex, 
Wood, Iron, Bamboo Strips


Waste paper, plastic bags and similar resources discarded on a daily basis are turned into prints of natural landscapes using micro photographic skills to create a strong contrast.



The Six Hues of Guanyin─ Branded • Unbranded


Wool, Lace, Polyester, Paper

Brands seem to represent mainstream values in this modern days. From fashion to education, non-branded items are regarded as sub-standard. Every action is carried out to make a name for itself.



The Six Hues of Guanyin─ A Girl’s Life • A Boy’s Looks


Quilted Cotton, Cotton, 
Iron, Polyester, Bamboo Strips, Muslin

As social norms and gender boundaries become increasingly blurred, unisex clothes and trends are emerging to meet new demands. This work responds to one of the many forms of Guanyin by designing clothes that can be worn on both sides: one side for women, the other for men.



The Six Hues of Guanyin─ Green • Consumption


Wood, Cotton, Paper, Nonwoven

We consume every day, creating huge amounts of waste. Making use of locally sourced wood from old lamp posts, this work up-cycles and rearranges materials into stereoscopic clothes.



The Six Hues of Guanyin─ Digital • Craft

Cotton, Bamboo Strips


Electronic devices have become indispensable in our lives in the digital age. But traditional crafts – such as paper crafting techniques – are still invaluable and worth preserving.





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與談: 張美儀、張國威、李冠然

主持: 吳妍儀 (輔大織品系助理教授)







主持: 盧淑芬 (《ELLE》國際中文版的總編輯 )



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與談: 范承宗、陳宗萍、林淑鈴、舒米‧如妮

主持: 陳高明 (臺灣竹的研究員、工藝師、地方民俗學者)





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與談: 康雅筑、楊偉林、賴純純

主持: 黃海鳴(國立臺北教育大學文化創意產業經營學系教授)  




06/03 (日) 下午14:00  林曉瑛(實踐大學工業產品設計學系 助理教授)

06/24(日)  下午14:00  線加工(設計師/傳統圓仔花融入現代設計運用) 






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【MOCA U12-小玩藝教室】*適合12歲以下。詳見入場規範。