…as time goes by, I’ve also come to realise that my real passion isn’t about practicing the craft but lies in the exploration and learning of crafts from the artisans around the world.

In general, it is not so much the end product that interests me but, rather, the process itself — notably the makers’ pursuit of perfecting their crafts through repeating the same action, day after day.

Lying to the northeast of Taipei Fine Arts Museum is one of the city’s oldest surviving buildings: the Lin An Tai Historical House.

The rebirth of Kishu An as a "forest" has allowed literature to walk into our daily lives, making a seemingly distant subject like that of literature more relevant to public at large.

Throughout the process of viewing Kamata's work, it felt as if the viewer and the visible light have become co-creators of the work in question, and that the viewer remains the sole audience of this exclusive optic spectacle.

Portuguese cut is perhaps the most challenging gem cutting style that I've ever come across.

Though small-scaled, this exhibition has succeeded in encapsulating the richness and diversity of Wanhua's tradition and culture.

With the dancers’ movement and incomprehensible chanting, a bridge to the aesthetic experience of Monga was created by Cloud Gate Dance Theatre, giving us audience the opportunity to relive this collective re-imagination of one of the city’s most treasured cultural memory.

“…I viewed Kotter’s works of light as if I was reading a piece of poetry that opens doors to new way of thinking and understanding. The only difference of the two being that, this time around, the poetry is composed of light and colours.”

“Without any exaggeration, the experience of wearing this bracelet was like being kissed by an angel — an affectionate kiss that was light and delicate, yet enduring.”