透過紙漿轉譯台灣寺廟與地方視覺遺存，探索民間圖像在雕塑與繪畫之間的跨媒介生成。

LIAO, Chao-Hao translates the visual residue of Taiwanese temples and local imagery through paper pulp, investigating the cross-media generation of folk iconography between sculpture and painting. 

破損的水泥與路邊的植物，創作靈感都來自路上觀察？

我會特別留意日常環境中容易被忽略的表面、材質與生長痕跡，例如河床裡破損的水泥塊、建築上的裝飾圖樣，以及植物如何依附人工設施生長。我習慣透過步行、拍攝與採集，反覆觀察這些細節。當它們逐漸顯現出人造環境與自然共存的關係時，便會成為我創作的起點。

Are broken cement and plants by the road, inspired by the observation from walking?

I specifically am aware of the surface, texture, marks of growth, that are easily overlooked in our life. Such as broken cement under the river bed, decorative patterns on buildings and the way plants thrive along artificial facilities. I′m used to observing these details while walking, shooting photos and collecting. When the coexistence relationship between artificial environment and nature gradually emerge,  it becomes the starting point  where I can begin my work.  

紙漿擬仿磨石子質地，如何同時挑戰技術與觀看？

以紙漿擬仿銅線磨石子壁飾，對我而言是一種刻意的錯位：在技術上逼近工藝的精確度，在觀看上卻引入材料的不穩定性。這種落差讓觀者意識到「看見的堅固」其實來自脆弱與逐漸消逝的結構，也迫使觀看本身被重新調整。

How does using paper pulp to simulate the terrazzo texture simultaneously challenge both technique and perception?

Using paper pulp to imitate the terrazzo texture of a copper-wire wall relief is, for me, an intentional dislocation: technically, it approaches the precision of craftsmanship, yet visually, it introduces the instability of the material. This gap makes the viewer realize  the “visible solidity” actually stems from a structure that is fragile and gradually disappearing, and it also forces the act of viewing itself to be recalibrated.

材料的轉譯下，為何選擇用脆弱回應堅硬？

選擇以紙漿作為材料擬仿水泥，並非否定工程理性，而是將理性轉譯為可被感知與質疑的狀態。這種以脆弱模擬堅硬的策略，讓結構不再只是效率與控制的結果，而是暴露出人類試圖穩定世界時所隱含的不安與臨時性。

In your interpretation of materials, why choose fragility as a response to hardness? 

Choosing paper pulp to simulate cement is not a rejection of engineering rationality, but a translation of rationality into a state that can be perceived and questioned. This strategy of mimicking solidity with fragility ensures the structure is no longer merely a product of efficiency and control, but instead exposes the anxiety and transience inherent in humanity′s attempt to stabilize the world. 

花不再只是自然景物，《寫生花卉圖》系列如何讓花成為一種文化記憶？

牡丹、蘭花等花卉在臺灣的寺廟、住宅與公共空間中經常出現，它們不只是富貴與祝福的象徵，也構成了我們日常生活中的視覺文化。對我而言，這些花卉反映了臺灣習俗觀看自然的方式：人們將對美好生活的期待寄託於植物圖像，並把自然重新裝飾、轉譯到建築與人工環境之中。

Flowers are no longer merely natural scenery — how does Copper Wire Flooring: The Sketching of Flower series transform flowers into a form of cultural memory? 

Peonies and orchids frequently appear in Taiwanese temples, housing, and public spaces. They are not only symbols of wealth and blessing, but also constitute part of the visual culture of our everyday life. To me, these flowers reflect the way Taiwanese custom perceives nature: people invest their hopes for a good life into plant imagery, re-decorating and translating nature into architecture and artificial environment.

為何特別選用「台灣原生植物」作為新系列的創作元素？

近期對台灣原生植物的關注，來自我在河川、城市邊緣與不同場域中的走訪與觀察。這些植物常在人工設施與受干擾的環境中持續生長，展現出適應、共生與韌性。對我而言，它們不只是地方性的自然符號，也映照了臺灣在多重環境與歷史條件中形成的生命力。

Why did you specifically choose “Native Taiwanese Plants” as the creative element for this new series?

My recent attention to Taiwanese native plants comes from my visits and observations along riverbanks, urban margins, and various sites. These plants often continue to grow within artificial facilities and disturbed environments, demonstrating adaptation, symbiosis, and resilience. To me, they are not merely local symbols of nature, but also mirror the vibrancy that Taiwan has shaped under multiple environmental and historical conditions. 

讓觀看角度由「圖鑑」走向「地景」 ，新作不再是矩形？

過去的「矩形」作品較接近圖鑑的構成。透過整齊排列與編號，呼應我對地方圖像進行採集、分類與建檔的過程。這次的新作《奇石》系列，我想讓作品從平面式的觀看走向立體空間，因此直接翻模河床中的破碎水泥塊，保留其不規則的輪廓與表面痕跡。使觀眾能從不同角度感受作品，並在物件、雕塑與地景之間形成更具空間感的觀看經驗。

Does moving beyond the rectangle shift the viewing perspective from “Field Guide”to “Landscape”?

My earlier “rectangular” works were closer to a field guide. Through orderly arrangement and numbering, they echoed my process of collecting, classifying, and archiving local imagery. In this new work, the Peculiar Stones series , I wanted to move viewing from a flat mode toward three-dimensional space. So I directly cast molds from broken concrete fragments found in riverbeds, preserving their irregular contours and surface traces. This allows viewers to experience the work from different angles, creating a more spatial viewing experience situated between object, sculpture, and landscape. 

透過麻雀的消失，看見了什麼樣的城市變化？

《奇石：雀群》以近年城市中，麻雀數量逐漸減少的現象為出發點，雖然微小卻可被視為城市中生態失衡的敏銳指標。道路、建築與各式人造地表持續覆蓋了原本多樣的土地紋理，原屬於農耕與自然環境的棲息地，被不斷壓縮與挪用。麻雀這種曾經與人類日常生活密切共存的鳥類，也因此逐漸從城市景觀中退場。

 What changes in the city become visible through the disappearance of sparrows? 

Peculiar Stones: Flock of Sparrows takes the phenomenon of declining sparrow populations in cities in recent years as it begins. A change that, though small, still can be seen as a sensitive indicator of imbalance within the urban ecology. Roads, buildings, and artificial ground surface have continuously covered what was once a diverse landscape of terrain. Habitats that once belonged to farming and natural environments have been continuously compressed and appropriated. Sparrows, a species that once coexisted closely with human daily, have been gradually receding from the urban landscape. 

如果作品最終風化，是結束還是另一種開始？

我不會將風化視為結束，而是作品時間性的自然延伸。當結構解體，它不再維持形式，而是回到場域與記憶之中，成為另一種完成狀態。

If the work eventually weathers away, is that an ending or another beginning? 

I don′t see weathering as an end, but as a natural extension of the work′s sense of time. As the structure breaks down, it no longer remains its original form, but returns to the site and memory, becoming another state of completion.