Grantee: Tung-Ling Shih
As an important access road between eastern and southern Taiwan, the South Link Highway of Provincial Highway No. 9 possesses rich natural topography and cultural landscape, and is also a crucial area where the Austronesian culture has been preserved. This project hopes to connect people and nature while exploring the cultural legacy and development in this region. Nature becomes the stage of the project, and art serves as an instrument to enable the encounter and sharing between people in this southern region. Through the energy of art as well as local culture and resources, the project aims to enrich the landscape of the south by re-defining the relationship between people and nature and initiating dialogues between people and the environment—dialogues that transcend nationality, culture and age—through collaborations between artists and local residents, and eventually creating artworks and projects that address the our co-existence with Great Nature. This is a project that evokes our remembrance of home to co-construct and play a part for the place, where we collectively dwell.
Vector of The South
The work extends from beach towards the land, and from lines to planes, forming waves that materialize the direction of the southern wind. The wind from the vast sea arriving at the narrow strip of plain in Taitung weaves out a fascinating humanistic dimension. The arrival of the wind brings the sand, plants, reef rocks of different shapes, mist, drifting objects, and waves. Facing the ocean, even the hair and clothes are eternally drawn by the hidden south and its invisible magnetic field.
Grantee: Wen-Fu Yu
The Shadow of Island
Materials: Seaside Waste of Nylon Ropes, Cement Bricks and Plastic, and Steel Rebars
The artist has applied a significant number of waste materials he collected while walking on the edge of the Pacific Ocean over the years, including fishing lines and nylon ropes entangled in the reef rocks, and steel rebars found in ground surface renovation at the Sugar Factory. Twisted steel poles were shaped like human figures and island. An island is just like an ocean museum, collecting all the things we cast away, showing remains of life. The eight pieces of human figure sculptures were produced with the villagers’ extensive knowledge of fishing nets. Tireless untangling, and elaborately wrapping into vibrant colors seen in the traditional attires for ilisin, standing on top of waste cement bricks as our reflection, indicating the site of our former dwelling. Rahic was born at the Pacific coast. He turned colorful “lines” metaphorically into “water,” and cleverly echoing the versatility and adaptability of water from ocean current, steam, rainfall, to rivers, water flows into countless lives, circling within the environment, running through our bodies, and showing the cyclical symbiotic relationship among human, land, and ocean.