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Special Issue | 13/02/2020

Internationale Handwerksmesse 2020 –             Taiwan Crafts Spectrum

National Taiwan Craft Research and Development Institute meets Internationale Handwerksmesse
Dear Subscriber,
The National Taiwan Craft Research and Development Institute leads six Taiwanese artisans to the Internationale Handwerksmesse and a “Taiwan Pavilion” will be set up at booth 130, Hall B2. During the exhibition, guided tours, live demo events by Taiwanese artisans, DIY activities and buyer meetings will be organized.

Event Location: Messe Muechen
Event Date: 11th – 15th March, 2020
Taiwan Pavilion Website: please click here

We have compiled a special edition to give you an overview and a first impression of the artworks of these highly talented Taiwanese artists.

Lacquerware

“Spirits of the Trees and Mountains” by Sheng-Wen LIAO
(Lacquer; bodiless lacquerware)
When making bodiless lacquerware, it often starts with a clay body and then topping lacquer paste and linen clothes onto it. Following the traditional know-how, the bodiless lacquerware starts to take shape after finally getting rid of the inner clay body. As audiences tend to see lacquer work in its upmost perfect state, they would often fail to recognize the fact that lacquer work gradually takes its form through the whole process. LIAO differs from common practices by revealing the making process of his works. That is, showing the public the real rugged texture of the inner body. The marks left on the fabric can be seen as sunshine dropped through tree branches and then create some blurry shadows on the rocks. Through expressive means, LIAO brings substantive visual appeal to reach out to his audiences.


 “Colors of the Sunset Sky” (Tea Ware Set) by Chih-Wei LIANG
(lacquer, wood, bamboo; Kawarneri/mottling)
The simple and neat wooden tea ware set is coated with layers of natural lacquer before being carefully polished to reveal the natural hue. Amid the gentle darkness, there are strokes of vivid vermilion. The red and black perform an everlasting dance of classic color combination as they echo and match each other perfectly, and thus bringing forth visual inspiration. Users of the tea tray will have intertwining senses of vision and taste, as they enjoy the aesthetic pleasure.


“Heart/ brooch” by Yu An YI
(seeds, natural lacquer, metal; Maki-e, layered)
The protruding dots on the surface aim to recreate the pleasant tingling sensation of Pop Rocks Candies dissolving on the tongue, which is a fun part of many people’s childhood memories. Well goes a Chinese saying that an adult should never lose his/her innocent child’s heart, whose meaning is similar to the English poet William Wordsworth’s “The child is father of the man.” Besides, a heart is a universal symbol of love.

Bamboo

”Voyage” by Chian-Cheng LIN
(Makino bamboo, wood, paper, lamp; bamboo obliquely sliced, bamboo tube processing)

The bamboo and wood in the mountains and forests are transferred as the sailing boat in the sea, which carries the light and the initial passion as on the way to the craft creation path.


“Wave Light III” by Kai-Jing CHEN
(sterling silver, bamboo, brass, magnet, platinum leaf, gold leaf and lacquer; lacquering, bamboo weaving and metalworking techniques)
.
First, weld brass with Sterling silver and twist in both the same and opposite directions so that this piece of work starts to take shape. Then, apply lacquer on top of it, sanding and polishing with lacquer to mimic the gleaming reflection of waves in sunlight. After that, several chemically-treated green bamboo strips are weaved into the structure as the final touches, symbolizing the green color sparkled on the waves. The necklace is adjustable in length. Doing that would ultimately transform the wearable piece into a brooch.


“Gradation” by Su-Ying TU
(bamboo; multi-layer hexagonal base)
The work is done with the Multi-layer Hexagonal Base method, a more complicated skill in bamboo-weaving. The weaver wishes her bamboo art works will come in handy in daily uses. Serving as a lamp shade, the art work is immediately transformed into a three-dimensional visual appeal.




“Nest” by Su-Ying TU
(bamboo; Spoke and windmill weave)
The weaver uses nest imagery to pinpoint the importance of family values. Through an array of bamboo-weaving techniques, a great variety of styles are demonstrated. It is a work revealing the artisan’s soul.




Diamond Partner 2020


Entwining Art

“Peonies” by Huei-Mei CHEN

(silk thread; twisted)
In the hands of trusty and talented Chan-hua masters, paper boards and silk threads play a huge part in the twirling, twisting and coiling processes. The timeless crafts have intertwined in the old pieces the long lasting reminiscent sentiments from generation to generation. Sprung from its original metaphor, a new vocabulary of fashion for the age-old crafts of Chan-hua has been created. As romanticism belong to the past has kept evolving, the piece of the past give birth to a low-profile grandeur and new value of practice in modern living.



“Twisted Thread Chrysanthemums/ necklace, pin”
(rayon, bristol board, metal, pearls; twisted)
With sophisticated hands, the maker uses threads in various colors and twists them on paper molds, kneading thoughtfulness into the petals. The pearls serve as the stamens and pistils. Chrysanthemums are seen as noble flowers with the meaning of longevity. The pieces are perfect ornaments to be worn as brooches or on a hat. Pushed onto the stage of fashion, the twisted thread chrysanthemums evolve into new forms, marking a resplendent revival of traditional folk art.


Ceramics

“The Beauty of Rustic I” by Tsung-Ju LI

(ceramics; wheel-thrown, slab-built)

“The Beauty of Rustic II”
(ceramics; wheel-thrown, slab-built, hand-built)
Not in pursuit for perfection! Nor for producing publicity by keeping in low profile! The kind of pottery that has moved along with time would eventually give birth to natural rustic beauty. It is closer to human hearts and making people around more at ease.

Platinum Partner 2020


metalworking/enamel

“Tolerance” by Hsiao Meng SU

(stainless steel, 925 silver, enamel; woven, champlevé enamel, filigree)
When I create, from first acquiring the techniques to finally establishing my own styles, I have often felt startled and moved by the self-reflection and changes revealed through these works. I have always come to the belief that blending oriental cultural elements into modern metal art crafts is what giving new life to traditional metal crafts.

To transform tradition is in a way through implementing series of changes to finally be able to sustain its roots and upgrading new styles. In my recent works, I have tried to blend in my own culture, discuss the historical background of metal crafts culture and pinpoint modern crafts art in their relations and differences. What did the metal crafts mean in traditional society and people’s life when it comes to historical context and daily use? Those are the agendas facing me as I observe the dilemma and changes of traditional metal crafts in modern times. Would it be able to preserve and sustain all by itself?
In addition to preserving the spirits and techniques, local culture trends which have been very much in sync with its international counterpart would be deemed as the upsides in future industrial development. It is important to pave the way for contemporary metalworking to rejuvenating and re-creating cycles to foster better understanding among cultures.


“Phoenix Flower Incense Holder” by Hsiao Meng SU
(925 silver, pearl, copper; filigree)

“Season Series.Summer/ brooch” by Ching-Chih WU

(copper, enamel, silver; etching, raising, plique-à-jour enamel, patina)
“Season Series.Spring/ brooch”
(copper, enamel, silver; etching, raising, plique-à-jour enamel, patina)
Taiwan, an island of four delightful seasons, has spring flowers and summer greenery. In these series of works, I would like to give expression to the natural and fresh colors of the seasons.


“The Decay in the Summer Night”
(copper, enamel; etching, raising, plique-à-jour enamel)
This works is inspired by the heavy rain in a summer night. The wet and slippery road reflects the neon lights, and the shimmer reminds me of the shape of vessels. During the processes of carving out the metal holes, my feelings began to change, just like the random rain drops that form various puddles. As for the vessel form, I used a curve to express and try to preserve the relationship between metal and enamel.


Gold Partners 2020

Triangle Rush Grass

“Circular Weaving Cusion” by Shu-fen WU, Cheng Ai-Tzu CHENG, Er CHEN

(Triangle rush; woven)
The artisan has more than 30 years’ experience in rush weaving. She first mapped out the design in her mind and then weaved the patterns through the memory of her fingers, then slowly forming into the end product full of beauty and balance.


“Bell Flower Tote” by Shu-Fen WU
(triangle rush (cyperus malaccensis), cloth; woven)
Artisan Shu-fen WU weaves, makes patterns and sews all by herself to make this traditional bag into a modern design piece. The inner bag uses sturdy single press technique in its base and then applies mesh pattern to create see-through effect. Finally, she uses rush grass to weave bell flower ornaments with adjustable strap to close the bag, adding both functional and ornamental values into the handbag.



“Slight Heat 2017: South Wind Blowing” by Chia Hui LU
(triangle rush (cyperus malaccensis), cloth; woven)
Slight Heat, the eleventh solar term, that is when the spring is sneaking away, and the summer comes. The south wind blowing from the sea makes the southern tip of the island so hot. It’s like using a hot tub in the summer, making one nearly melting under the heat. Take out the mat and imagine it to be the other shore. Using it to shuttle back and forth in time, and remember people long bygone. Wind blows to turn the earth a beautiful landscape. The rainfall gives birth to life in silent uproar, only to be responded by the warp and the woof of the weaving grass.


Cooperation opportunities with
National Taiwan Craft Research and Development Institute!


Meetings with the representatives of National Taiwan Craft Research and Development Institute (NTCRI) will be arranged at the “Taiwan Pavilion”. Use the chance to explore cooperation opportunities with NTCRI!

For more detailed information, please contact Ms. Angelika Weng.

Angelika Weng
Senior Manager
Trade Fair Services

Tel: +886-2-7735-7536
Email: weng.angelika@taiwan.ahk.de

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Imprint: 
Editing & Research: Charlotte Hsu, Christoph Lory, Yung-Kee Tang
Publisher: German Trade Office Taipei
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Tel.: +886-2-7735-7500
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info@taiwan.ahk.de 

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