工藝家蔡旻翰在經歷迷惘後，下定決心往木材工藝美術的方向發展，猶如里程碑作品的《骨器》，也象徵給自己的強心針。從木材家具工藝的學習開始，此技藝因此 得以「支撐」工藝家往工藝藝術創作的路徑，因此《骨器》以近似家具椅子的型態 表現，更出現具象的脊椎骨骼，兩者都表達了「支撐」的含義。由於下決定時需要 「證明」、「鼓勵」與「立場」的表達來「支撐」作為心理支持，因而命名「骨 器」，帶來多方呼應:骨骼意象、諧音「骨氣」以及一股決心毅力的能量。 而在蔡旻翰的創作裡常見骨骼、生物肌理、化石等結構，不僅關乎其個人骨髓疾病 所衍生出的生命哲思，工藝家對於木材的認知更跳脫溫潤、溫度的材質，反倒是幽 默地認為木製品等同於「樹木的標本」。因此在《骨器》中的脊椎的材質選用被稱 為「Ash(骨灰)」的梣木，不僅因其色澤與骨灰相當，梣木在斯堪地那維亞神話裡 更被視為天界、地界、冥界的連結，以此巧妙蘊藏工藝家對於生死議題的探討。
Having experienced a period of confusion, the artisan Tsai Min-Han decided to pursue a path in woodcraft art, marking this milestone with the creation of “Backbone I”. The piece symbolizes a "boost of confidence" and a personal turning point. Beginning with the craft of wooden furniture, this skill set became the "support" for the artisan’s transition into artistic creation. Reflecting this concept, “Backbone I” takes the form of a chair-like structure, incorporating a visible spinal column—a dual expression of "support." The name "Backbone I" also carries multiple layers of meaning: the literal imagery of a spine, the homophonic link to "backbone" as a metaphor for courage and determination, and the energy of resilience. In Tsai’s works, recurring themes of bones, bodies, and fossils reflect his personal philosophy, partly shaped by a bone marrow condition he faced. Tsai reinterprets wood beyond its typical association with warmth and organic materiality, humorously considering wooden objects as "tree specimens." In “Backbone I”, he uses ash wood, also referred to as "Ash," chosen for its pale color reminiscent of ashes and its deeper significance in Scandinavian mythology, where the ash tree connects the heavens, earth, and underworld. This material selection subtly encapsulates the artisan’s reflections on life and death.
蔡旻翰 Tsai Min-Han
畢業自國立臺灣藝術大學工藝設計學系碩士班，1997年生，在大學時期便立定專注於木材工藝美術創作，堅定致力於木雕領域，同時以教學工作推廣木材工藝。蔡旻翰作品融合繁複結構，擅長以零件式營造富含空間 感的作品，強調正負空間的交互關係，透過細木工榫接結合雕刻、塑型等技法，展現生物與機械結構的衝突 美感。 其對於木材的情感連結源自個人健康經驗與材料特性，幽默地認為「木材即樹木的屍體」，並在創作中融入 對生命的思考，賦予作品深刻的哲學意涵，因而於其作品中常見生物的骨骼、標本、化石等意象，由材料回 應個人體悟，此種特色顯見於《骨器》這件作品，亦重現生與死的反思。
Born in 1997, Tsai Min-Han holds a master’s degree from the Craft Design Program at Taipei National University of the Arts. During his university years, he chose to focus on woodcrafting, dedicating himself to the art of wood carving while actively promoting woodcraft through teaching. His creations are distinguished by their intricate structures and skillful use of modular components to create a strong sense of dimensionality, highlighting the interplay between positive and negative spaces. By blending fine woodworking joinery with carving and shaping techniques, Tsai’s work captures the striking contrast between organic and mechanical aesthetics. Tsai’s profound emotional connection to wood originates from his personal health experiences and the material’s natural qualities. He humorously refers to wood as "the corpse of a tree," embedding reflections on life into his creations and imbuing them with deep philosophical significance. His works frequently feature motifs such as skeletons, specimens, and fossils, using the medium to express his contemplations on existence. This distinctive approach is vividly showcased in his piece Backbone I, which explores the interconnected themes
