構樹皮作為天然永續的非均質材料，工藝家黃文娟以鐵鎚敲鎚，試圖將密度、分佈 不盡相同的纖維於個人設定框架裡有限度地變形。黃文娟於其上施加天然漆藝的色 塗料，交揉樹皮纖維內部交互應力，以及漆藝漆料的塗層數、位置等外部變因力 量，樹皮材料與漆工藝之間產生的拮抗能力交互作用，帶來凹凸不平或非正圓的形 狀，反映出人與自然之間的拉扯、控制與漸變，探索人與自然之間的關係。 工藝家反思，人類彷彿古代帝王神格化自身而賦能，自比「萬物之靈」以超脫動物 界，而鏡花以鏡與花器的樣態呈現，透過漆工藝的光滑得以映照出本我與物我，不 過度銳利的倒影，柔化萬物的邊界，你、我、動物、植物在鏡花裡都是模糊而無差 別，好似容納所有既熟悉又陌生的事物。人們透過鏡花，學習走下萬物之靈的高台，與世界和解。
Using the bark of the paper mulberry as a naturally sustainable, heterogeneous material, artisan Huang Wen-Chuan employs a hammer to manipulate the fibers, which vary in density and distribution, within a predefined framework to achieve controlled deformation. She applies natural lacquer to the surface, introducing layers of lacquer paint while balancing the internal interactive stresses of the bark fibers with external factors such as coating thickness and placement. The interplay between the bark and lacquer generates an antagonistic dynamic, resulting in uneven or non-circular forms. These shapes reflect the tension, control, and gradual transformation between humans and nature, exploring their complex relationship.
The artisan reflects on humanity’s tendency to elevate itself, comparing humans to ancient emperors who claimed dominion over all living things, distancing themselves from the animal kingdom. Mirror Flower, designed as both a mirror and a flower vessel, uses the sleekness of lacquer craft to reflect the self and the surrounding world. The softened reflections blur the boundaries between beings, merging humans, animals, and plants into a shared existence that embraces both the familiar and the unknown. Through Mirror Flower, viewers are invited to step away from the notion of being “masters of all things” and reconnect harmoniously with the world around them.
黃文娟 Huang Wen-Chuan
跨媒材工藝創作者、設計師、生物室Hybridise負責人，1978年生，曾獲得2020臺中纖維創作獎第三名，以入選2023日本石川國際漆展。在兼具生物學、產品設計的背景之下，黃文娟透過研讀生物材料學論文、 實測工法等模式，試圖展現出工藝天然素材不均質的特性。 在其所創作的《有機造物》樹皮漆器系列，以原住民文化中廣泛被運用的構樹為素材，自挑選構樹、去芯、 敲槌構樹皮、層層上漆的完整階段均出自其手;希望透過有機物過渡成為人造物的過程，傳達出人類走下自 詡為萬物之靈的高臺，與萬物共生共存的反思態度。
Born in 1978, Huang Wen-Chuan is a multidisciplinary craft artist, designer, and the director of Hybridise. She earned third place in the 2020 Taichung Fiber Creation Award and was featured in the 2023 Ishikawa International Lacquer Exhibition in Japan. With an academic background in biology and product design, Huang delves into the diverse qualities of natural craft materials by studying biomaterial science papers and conducting hands-on experiments.
In her "Organic Creation" series, which includes bark lacquerware, she utilizes the bark of the tapa cloth tree—a material deeply rooted in indigenous cultures. Huang personally selects the trees, removes their cores, hammers the bark, and meticulously applies multiple layers of lacquer by hand. This intricate process transforms organic materials into crafted objects, reflecting her philosophical perspective on humanity’s place in the natural world. Through her work, Huang challenges the anthropocentric notion of humans as the "spirit of all things," advocating instead for coexistence and symbiosis with all living beings.
