Season of Camellia in Taipei’s Secret Garden
A secret garden — also known as Taipei’s backyard garden — holds the key to the cultivation of camellia in the northern part of this beautiful isle once called Formosa.
Ann Veronica Janssens’ Coloured Mist Room and the Path Towards Enlightenment
This 2017 creation invites viewers to wander through a room permeated with fog coloured in green, yellow and pink, challenging their perception of this mundane world and perhaps, for some, their very own existence.
A ‘Soul-trembling’ Universe Woven by Shiota Chiharu
The artist’s largest-ever solo exhibition Shiota Chiharu: The Soul Trembles travelled to the Taipei Fine Arts Museum (TFAM) this summer, deeply affecting the souls of many visitors.
From Rough to Polished: The Marquise Cut
A marquise cut is an elliptical gemstone with pointed ends, bearing similarity with the shape of an almond.
The Experience of Becoming a Curator-Visitor at MoNTUE
Last winter, I made a visit to the MoNTUE for the exhibition The Everlasting Bloom: Rediscovering Taiwanese Modern Art.
Exploring the Art of Inlay in Kumamoto, Japan
…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.
An Open Letter to the Late Soetsu Yanagi
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.
Travel from Home: Lin An Tai Historic House
Lying to the northeast of Taipei Fine Arts Museum is one of the city’s oldest surviving buildings: the Lin An Tai Historical House.
Walking Through History in the Kishu An Forest of Literature
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.
Contemplating Through the Lens of Jiro Kamata’s Optic Jewellery
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.