1990年 出⽣於臺灣臺中
2013年 國立臺北藝術大學 美術系
2018年 國立臺南藝術大學 造形藝術 碩士
2018年 國立臺南藝術大學 藝術創作理論研究所博士班 就讀中
重要經歷
2025年 第19屆李仲生基金會－視覺藝術獎，臺灣
2024年 南瀛獎－首獎，臺灣
2024年 臺灣美術新貌獎－評審團獎，臺灣
廖昭豪，1990出生於臺灣臺中。2013年畢業於國立臺北藝術大學美術學系，2018年畢業於國立臺南藝術大學造形藝術研究所，現就讀於國立臺南藝術大學藝術創作理論研究所博士班。曾獲南島國際美術獎、李仲生基金會視覺藝術獎、高雄獎首獎等獎項。
創作脈絡以生活周遭環境中所充斥的物件及設施的狀態作為出發點，透過觀察後，以材質轉換再製造並投入自身的感官感受來重新詮釋物件。作品主要以絞碎的紙漿仿擬台灣人為地景風貌，不論是沿海岸線常見的消波塊、山路岩壁斜切亙守的擋土牆、水土維護有關的植生護坡，或道路旁普遍的紐澤西護欄，將原屬戶外的「景觀」移進室內。
作品皆是紙漿材質模擬土石水泥，試圖以手工仿真的軟性材質形塑堅硬具保護作用之結構物，這類環境中習以為常的水泥製品成為抵擋大自然的盾牌，而其上斑駁的紙痕與透見內裡的木條支架亦暗示了，當它們在與自然力量抗衡時顯得那麼單薄而不堪一擊，於此展現藝術家對人為開發於自然與環境保護議題上的反思。
創作理念
《銅線磨石子寫生計畫-牡丹、菊、喜鵲》系列：
於台灣多處廟宇中觀察到磨石子工法替代了早期廟宇以繪畫技法的形式裝飾牆、柱…等；作品以紙漿為主要材料，擬仿銅線磨石子的傳統壁畫工法，將廟宇中大量重複出現的花鳥圖像以寫生的方式進行再創作，呈現出介於雕塑與繪畫的型態；藉由磨石子工法來表現傳統花鳥水墨的形式，欲探討繪畫與雕塑媒介進入公共空間的狀態，回應廟宇中的壁畫題材取材於自然環境，如何解讀自然圖像（吉祥寓意寄情於花鳥）、公眾集體意識影響公共藝術美學之關聯。
b. 1990, Taichung, Taiwan.
2013 B.F.A., Program, Department of Fine Arts School of Fine Arts Taipei National University of the Arts, Taiwan.
2018 M.F.A., Program, Department of Fine Arts School of Fine Arts Tainan National University of the Arts, Taiwan.
IMPORTANT EXPERIENCE
2025 The 19th Lee Chung Shing Foundation Visual Arts Award-Visual Arts Creation Award, Taiwan.
2024 Nanying Awards, First Award, Taiwan.
2024 Taiwan Emerging Art Awards, Jury Award, Taiwan.
STATEMENT
LIAO Chao‑hao was born in Taichung, Taiwan in 1990. He graduated from the Department of Fine Arts, National Taipei University of the Arts in 2013 and the Graduate Institute of Plastic Arts, Tainan National University of the Arts in 2018. He is currently pursuing doctoral studies at the Graduate Institute of Art Creation Theory, Tainan National University of the Arts. His work has received several awards, including the Austronesian International Art Award, the Lee Chung Shing Foundation Visual Arts Award, and the Kaohsiung Award.
Liao's artistic practice begins with observing the objects and structures that permeate his everyday environment. Through careful observation, he transforms materials and applies his own sensory experiences to reinterpret these objects.His works are primarily created from shredded paper pulp, mimicking the anthropogenic landscape forms of Taiwan embedded in everyday environments. These include wave-dissipating blocks commonly found along coastlines, retaining walls that cut diagonally through mountain roads, vegetated slope protections related to soil and water conservation, and the ubiquitous New Jersey barriers lining roadways. Elements originally situated outdoors as part of the landscape are thus relocated into an interior exhibition space.
All works employ paper pulp to simulate stone and concrete, using a handcrafted, pliable material to replicate rigid structures designed for protection and control. These cement constructions—so familiar within our surroundings—function as shields against natural forces. Yet the mottled paper textures and the exposed wooden frameworks beneath reveal their inherent fragility, suggesting how thin and vulnerable they become when set against the power of nature. Through this contrast, the artist reflects on human intervention, questioning the tension between development and environmental protection.
CONCEPT
"Copper Wire Flooring – Peony, Chrysanthemum, Magpie" series:
This series originates from observations made at temples throughout Taiwan, where terrazzo techniques have gradually replaced earlier pictorial painting methods used to decorate walls, columns, and other architectural surfaces. Using paper pulp as the primary material, the works emulate the traditional copper-wire terrazzo mural technique, reworking the floral and bird motifs that recur extensively in temple imagery through a process of sketching from life. The resulting forms exist in an ambiguous state between sculpture and painting.
By employing terrazzo methods to render the visual language of traditional flower-and-bird ink painting, the series investigates how the media of painting and sculpture enter and function within public space. It further reflects on how temple murals—drawing their subjects from the natural environment—encode auspicious meanings through flowers and birds, and how interpretations of natural imagery intersect with collective public consciousness to shape the aesthetics of public art.
