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The Representative Artists

代表藝術家群_ 臺東工藝的南島精神

 

臺東在新加坡  FIND亞洲設計博覽會中展出內容包括三部分,第一部分為在地代表性品牌,遴選出臺東曙光藝術工作室 Taitung Shuguang Art Studio、米麻岸 Mima'an、九鳥陶燒工作室 Adisi Pottery、賽妃手作坊Sayfike、臺11藝術工作室Highway 11 Open Studio,共5家品牌,內容涵蓋金工玉石設計、毛球與編織、柴燒陶藝等自然媒材,工藝家也會親自在現場直接與觀眾交流。組在。

Taitung Shuguang Art Studio
臺東曙光藝術工作室

Heading towards the rising sun

Centuries ago, ships regularly sailed between the inhabitants of Taiwan and the Pacific islands. The people of the eastern coast exhibited remarkable navigation skills as they traversed the expansive Pacific Ocean, covering distances from New Zealand in the south to Madagascar in the west, and even to Easter Island in the east. According to legend, the ancestral vessels of this community once ventured along the ancient "Jade Road of the Sea," carrying precious jade ornaments unique to Taiwan during that epoch. Through their maritime journey, these jade adornments found their way to various destinations, including Mainland Southeast Asia, Luzon Island, and Borneo.

Mao, Hao-Ya, and Lin, Sheng-Huo, the creators, possess not only impressive skills in metal and jewelry work but also an innate ability for storytelling. From an artistic vantage point, Mao's artistry illuminates the richness and diversity of Pangcah culture through the adept incorporation of cultural symbols and forms that shape identities and perspectives. In parallel, she skillfully weaves locally sourced materials (chiefly Taiwan's eastern jade, Taiwan jade, Taiwan Nephrite Cat's Eye, White Chalcedony, Blue Chalcedony, and Purple Chalcedony) with intricate silversmithing techniques, thereby infusing her creations with a personalized interpretation of the cultural narrative.

 material:metalworking, stone

Pasiwali 往太陽昇起的方向出發

數千年前臺灣島嶼的住民與太平洋島嶼之間巳有船隻往來,居住在東部海岸的住民藉著強大的航海技術航行於太平洋,南到紐西蘭、西至馬達加斯加、東到復活節島,據說這群人的古船於千年前徜徉在「海上玉路」,乘載著當時臺灣特有的玉料玉飾,透過航行傳播至印中半島、呂宋島、婆羅洲等地。

創作者毛皓亞與林銀火不僅是專業金工創作者,亦是說故事者。從藝術創作觀點角度來看,毛皓亞的創作展現了南勢阿美族文化的豐富性和多樣性,她巧妙的運用文化符號和形式形塑認同與感知。同時,她在作品描繪構思中,擅長運用在地採集的媒材(主要為花東玉石臺灣玉、臺灣貓眼、白玉髓、藍玉髓、紫玉)和精細銀工技法融入創作概念,展現了文化經驗的和個人化詮釋。

 材質:金工、石材

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台東曙光藝術工作室,又稱台東曙光藝術村(簡稱曙光或TDAV),專注於南島原住民當代藝術,並關注東部土地社區的歷史、社會生活和生態環境。其使命是實踐原住民族共享的同時,曙光致力於與國際當代藝術機構和台灣原住民當代藝術現狀建立聯繫,成為東部地區國內外藝術家交流的樞紐。成員們長期致力於研究歷史、社區和部落的原住民文化,並與這些社區或部落建立必要的聯繫。

自台東成立以來,曙光逐步拓展至花蓮,積極與台東、花蓮境內的各社區、原鄉部落和工藝工作室合作。特別是與藝術資源較缺乏的原鄉部落資料,將點點滴滴的合作央行鏈接推動了東部偏縣市內的本土藝術家與國際藝術家之間的交流與互動,讓他們更貼近並理解台灣東部地區的藝術文化和原住民南島文化。

Mima'an
米麻岸

O‘orip no fulad

Embracing the foundation of "Made in Taitung," Mima'an sets out to infuse the region's vivid hues into their product designs for everyday life. This endeavor draws inspiration from the cultural richness of the Amis people of the Dulan tribe and channels the artisanal wisdom of the older generation to shape a new era's distinctive trend. In their latest venture, Mima'an introduces the "O'orip no Aulad" series, focusing on home decor, as an avenue to express their perspective on contemporary living. The circular frame structure, meticulously crafted from pig iron in collaboration with a designer, elegantly melds with the characteristic Kunakung (multi-colored yarn balls) that are integral to the Amis culture of Taiwan's East Coast. This amalgamation captures the moon's ascent above the sea, accompanied by the varied intertidal moods and the terrain's chromatic palette. Each night, this composition subtly shifts, revealing new postures and emotions.

material:Mirror, Iron work, Wool fiber

Ø50cmx5cm

十二月輪

試著從台東製造的概念出發,將土地的美好色彩帶入生活產品設計中,蘊含著都蘭部落阿美族人的氣息,從學習老人的手來創作新世代的原風潮流,以家飾概念推出十二月輪系列作品,展現出米麻岸對於當代生活的態度,與設計師共同創作的生鐵的圓型鏡框構造,結合東海岸阿美族人特有的多色毛球kunakung,呈現在海面上升起的月亮,伴著不同的潮間帶氛圍與地景色彩,每個夜晚都有不同的姿態緩緩露出。

材質:明鏡、鐵作、羊毛纖維

尺寸:Ø50cmx5cm

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米麻岸Mima'an 是由三位分別是親姊妹及好友共同創辦,品牌背景來⾃台東都蘭部落的阿美族,三人⾃105年選擇返鄉後,熱衷與部落老人們學習傳統工藝,從十字繡到毛球創作、從織布到各種⾃然素材編織,從工藝到傳統習俗,⼀步⼀步拾回與⾃身文化的連結。

在文化面建立足夠基礎後,米麻岸Mima'an 運用視覺及空間專業設計,打破手工藝被侷限的視野放大發展,透過設計轉化及結構建立,讓傳統工藝不僅是穿戴用的飾品,讓品牌在前往商品化的面向發展。

米麻岸Mima'an 想讓更多人知道原住⺠的美好文化,能用美麗有趣的素材開心的創作著、能在部落生存下去並快樂的生活著,真的是⼀件幸福的事!

Adisi Pottery
九鳥陶燒工作室

Sharing

Title:Sharing

author:Adisi Pottery

With a history spanning two decades, Adisi Pottery is a brand shaped by the creative vision of Zudweyl Ruvaniyao (Liao, Guangliang), a Paiwan tribesman hailing from Mudan Township, Pingtung. His ceramic artworks capture the essence of his ancestral culture. Beyond traditional clay vessels, his creations encompass a range of items, from daily utilitarian pieces to vessels indispensable for local tea and coffee culture, along with sculptural renditions inspired by the myths of the Palan site and public art installations. This showcased series is centered around the concept of communal vessels for tea, wine and coffee. Adisi Pottery employs wood ash obtained from local wood, allowing for tactile in graved patterns. Employing Japanese porcelain or Taiwan clay, these creations demonstrate the rare utilization of wood-fired techniques.

 Pottery

103*110*95.5cm

分享

九鳥陶燒品牌成立已二十年,是由屏東牡丹鄉排灣族人廖光亮(Zudweyl Ruvaniyao)為主要創作者,陶藝作品延續他的母體文化特色,除了製作傳統陶甕之外,創作範圍從生活用器,在地產業飲茶喝咖啡所需的器皿,陶塑巴蘭遺址的神話發想到公共藝術都可以看見。這次分享系列作品,就是將茶、酒、咖啡的品嚐器皿與大家共享。九鳥陶運用在地薪柴的落灰,印襯出可觸摸出手刻的圖紋,搭著日本瓷土或是臺灣土為質地,是少見的柴燒作品。

材質:陶

尺寸:約103*110*95.5cm

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九鳥陶燒工作室位於台東縣卑南鄉山林間的新班鳩,一直以來以工坊培育工藝人才、原住民藝術創作和發展,並利用在地素材重組不同族群與不同的藝術文化,以豐沛堅忍的原生創造力,燒煉出最具排灣底蘊的陶藝創作。

 

創作者廖光亮是台灣原住民族排灣族人,在原住民的傳統生活中有許多皆是取自於大自然,柴燒陶藝內含的柴、火、燃燒、土皆是屬於大自然的一部份,在創作的過程中如同自然與人的對話形式。陶器上因柴燒而有的火痕、落灰,就代表著大自然語言;刻印原住民圖騰代表原住民的歷史文化,是自然與文化的融合,也是九鳥陶燒作品最獨到與眾不同之處。

Highway 11 Open Studio
臺11藝術工作室

Barnacle  Imagination

Creating with natural materials is a principle that Moussou steadfastly upholds. Beyond that, she sources materials from local farmers' loofahs, repurposed threads, discarded fabric from clothing waste, beachcombing finds, driftwood, twine, and iron wire. Proficient in knitting, interior decoration, painting, and crafts, Moussou's lampshades crafted from loofah may seem familiar, yet they take on distinctive shapes and captivating qualities under her hands. Through her approach to dyeing and structure, the lampshades become not only interchangeable and collectible but also adaptable to the rhythms of daily life and varied atmospheres.

Loofah, segment dyed thread, fishing thread

40*25cm

藤壺猜想

使用自然媒材製作是創作者高敏書(Moussou)的堅持,不僅如此,在地小農的絲瓜、回收線材、服飾廢布料、海拾物、漂流木、麻繩、鐵絲等都是她常運用的素材。擅長編織、空間陳設、繪畫與手作的敏書,這次運用絲瓜絡做燈罩的(刪掉)是常見的,但是在她的手上又呈現出不一樣的造型與趣味,染色與結構的構思讓燈罩成為可替換、好收藏的物件,也可以依照生活、氣氛所需做變換。

材質:絲瓜絡、段染線、魚線

尺寸:40*25cm

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台11藝術工作室主持人”Moussou”熱愛旅行中飽嚐多元文化的色彩,在旅居世界各地後落腳於都蘭;選擇繪畫來表達感動與欣喜的片刻(moment),結合服裝背景與複合媒材創作出不同質感及美感的作品。從繪畫、編織、服裝到裝置,以"線"為軸,以筆為經,編織、縫補、拼貼、勾勒出一件件獨一無二的作品。因生活於此而孕育出的創作、是採集於在地原味的元素、每一件都是在此發生的原生創作。

Sayfike
賽妃手作坊

Kakoni

Rattan and bamboo weaving have long been a prevalent medium and distinctive local feature in Taiwan, particularly among the indigenous communities. This time, Sayfike Studio introduces bamboo and rattan woven bags, embarking from the collection and processing of materials. This endeavor carries forward the Taiwanese ethos of respecting the land and promoting sustainability by minimizing carbon emissions. Drawing inspiration from the hunter's backpacks and straps traditionally used by the aboriginal people, the studio expands upon the weaving and knitting techniques, transforming them into contemporary weaving tools

Rattan

18*10*33cm

獵人包

藤、竹編製一直是臺灣島嶼常見的媒材與在地特色,尤其是台灣原住民族更可見從建築、結構、許多生活用品看見。此次賽妃工作室帶來竹籐編的包袋,從採集與處理材料開始,延續族人善待土地、永續減碳的生活態度,在造型上採用原住民族獵人背袋與背帶的樣式、延伸編與織的結構,成為當代生活可以使用的編具。

材質:藤

尺寸:18*10*33cm