2026關渡國際自然藝術季 Guandu International Nature Art Festival

作品編號A
白虹 Bridge of The Soul
藝術家｜白濟豪 Chi-Hao Bai
地點｜Location
埤塘生態區（南北池） Freshwater Pond (South and North pond )
材料｜Materials
竹子、桐油、蚵殼粉、廢棄帳篷骨架、麻繩
bamboo, tung oil, oyster shell powder, discarded tent frames, hemp rope
理念 | Statement
每當雷雨交加 天地相連
正是這交會之時 靈魂從天上降落世間

這座連結天地的橋
具有雙頭
一面光明一面黑暗

千萬年來
靈魂過橋降生濕地 河流的子宮
慢慢長成泥胎
生生不息
隨著流水蔓延到處紮根落地

聽說一場午後雷雨 會降下71兆粒雨滴
每個降落的靈魂 在這世上泛起百年的漣漪
而那座滿是靈魂的橋 名為白虹

Whenever thunder and rain fill the sky, heaven and earth are joined.
At this moment of convergence, souls descend from the heavens into the world.

This bridge connecting heaven and earth
has two heads—
one facing the light, the other the dark.

For millions of years,
souls have crossed this bridge to be born into the wetland,
the womb of the river.
There, they slowly take form in mud,
generation after generation,
spreading with the flow of water,
taking root wherever they arrive.

It is said that a single afternoon thunderstorm
can release 71 trillion raindrops.
Each soul that descends into this world
sets in motion ripples that last a hundred years.

And this bridge, filled with countless souls,
is called White Rainbow.

作品編號B
蒼穹之羽 Celestial Wings
藝術家｜緯創人文基金會／緯創資通ｘ李蕢至 Wistron Foundation / Wistron Corporation X Kuei-Chih Lee
地點｜Location
往自然中心的斜坡步道The sloped pathway leading to the Nature Center
材料｜Materials
白茅、竹、麻繩、稻草、樹枝、蘆葦、鋼筋
white cogongrass, bamboo, hemp rope , straw , branch , reed , rebars
理念 | Statement
候鳥不只是飛過天空，而是在閱讀星球
濕地不只是停留之處，而是萬物彼此相遇的地方
創作靈感來自關渡自然公園候鳥遷徙路徑，由環境藝術家李蕢至帶領52位緯創志工同仁共同創作，近看宛如一對展翅飛翔羽翼的大型雕塑，遠望則形成一道弦月弧線。象徵候鳥跨越山海、串聯各處棲地，也寓意人與自然、人與人之間彼此連結，共生共好的希望。
Migratory birds are not merely traversing the sky but also reading the planet.
Wetlands are not merely places to rest, but also where all forms of life intersect.
Inspired by the migratory birds' paths at Guandu Nature Park, environmental artist Kuei-Chih Lee guided 52 Wistron volunteers in crafting this grand sculpture. Up close, it reveals itself as a pair of wings unfurling in flight; from afar, it resolves into the graceful arc of a crescent moon. It symbolizes the journey of migratory birds crossing mountains and seas to unite disparate habitats, while embodying a quiet vision of harmony—a profound connection uniting humanity with nature, and human hearts with one another.

作品編號C
神話之車 The Car of Myth
藝術家｜関口恒男 Tsuneo Sekiguchi
地點｜Location
野溪旁空地Open space by the wild stream
材料｜Materials
土壤、竹子、種子、球根
soil, bamboo, seeds, bulbs
理念 | Statement
如果我們能將現代世界視為一則神話，那麼自然與人工造物之間便不再彼此分離，而是呈現為一個持續流動、完整的整體。
If we can see the modern world as a myth, nature and human-made objects are no longer separate, but become part of one continuous, flowing whole.

作品編號D
濕地的臉龐 The Face of the Wetland
藝術家｜林暐翔 Wei-Xiang Lin
地點｜Location
階梯廣場南側光臘樹樹林The Griffith's Ash Woods on the south side of the Stepped Plaza
材料｜Materials
現地既有樹枝幹、藤蔓、麻繩、礫石
Existing branches and trunks found on site, vines, hemp rope, gravel
理念 | Statement
將濕地視為一幅巨大而非人稱的「臉龐」。神話中的面具象徵人類從穿戴自然中獲取自然力量；作品則反轉這一關係，將「穿戴」轉化為「感知」。觀者進入由枝幹交織而成的自然結構中，在包覆、遮蔽與觀看之間，放下以人為中心的觀看方式，以身體為感知融入濕地。
The wetland is imagined as a vast, non-human “face.” In mythology, masks symbolize the human desire to gain the power of nature by wearing it. This work reverses that relationship, transforming the act of “wearing” into an act of “sensing.”
Viewers enter a natural structure woven from branches. Moving between enclosure, concealment, and observation, they are invited to let go of a human-centered way of seeing and instead experience the wetland through the body, becoming immersed in its sensory presence.

作品編號E
芽脊 Spine of Sprouts
藝術家｜鄧國騫 Kwok-Hin Tang
地點｜Location
自然中心後草坡Grass Hill in back of the Nature Center
材料｜Materials
竹、蘆葦、木、泥、乾草、廢棄家具（竹、木、籐等）、麻繩
bamboo, reeds, wood, mud, hay, discarded furniture (bamboo, wood, rattan, etc.), rope
理念 | Statement
《芽脊》以濕地自然材料與城市棄置家具縫合而成，象徵新芽與肉芽般帶傷的物種演化。作品呈現「和解後的後遺」：既是癒合，也是介入；既是修補，也是痕跡。它揭示人類對自然的需要與依附，並構成一個讓城市、濕地、人類與神靈在此重新學習彼此語言的場域，讓作品在展期中被濕地持續書寫。
Sprout Ridge is formed by stitching together natural materials from the wetland and discarded urban furniture, evoking both new shoots and the wounded growth of evolving species. The work reflects the “aftereffects of reconciliation”: it is at once healing and intervention, repair and trace.
It reveals humanity’s need for and dependence on nature, while creating a space where the city, the wetland, humans, and spiritual beings can relearn one another’s languages. Throughout the exhibition period, the work continues to be shaped and rewritten by the wetland itself.

作品編號F
神獸的放假提案 The Mythical Beasts’ Day Off
藝術家｜王彥臻 Yen-Chen Wang
地點｜Location
關渡宮Guandu Temple
材料｜Materials
二手布料、二手玩具、鐵絲
Second-hand fabric, second-hand toys, wire
理念 | Statement
關渡宮裡，神獸與吉祥動物棲息於建築與信仰之間，為宮廟文化中的自然語彙。作品以二手玩具與布料重組宮廟自然圖騰，在涼亭創造一個讓神獸暫時卸下守護者身份，可以遊憩的棲地。當自然與人造物交織，「自然」是否仍能被劃分在人造環境之外？那些被製造、消費與丟棄的物件，也早已成為我們環境的一部分。
At Guandu Temple, mythical and auspicious creatures inhabit the space between architecture and belief, forming part of the natural vocabulary of temple culture. Using second-hand toys and fabric, the work reinterprets the temple’s natural motifs and creates a temporary habitat in the pavilion where these guardian creatures can briefly set aside their protective roles and rest, play, and roam.
As nature and human-made objects become intertwined, can “nature” still be clearly separated from the built environment? Objects that have been manufactured, consumed, and discarded have already become part of the environments we inhabit.