21/07/2026
Webermarkt Haslach參展者介紹：
黃文英Wen-Ying Huang
自教職退休後，落腳白河，成立白河手織工坊。工坊透過視訊梭織教學、代理織機和紗線進口，來分享幾十年手工梭織心得及教學經驗。個人除了纖維藝術創作之外，生活織品也是關注的項目。創作設備含電腦提花手織機及12綜落地織布機，專注在多綜片的複雜織法，特別是有現代感的新技法，例如：Newwork drafting和Echo weave。
After retiring from university teaching, I founded White Brook Weaving Studio. The studio shares decades of hand-weaving and teaching experience through video weaving courses, agent looms, and yarn imports. Besides creating fiber art, designing functional objects is also a major focus. The studio uses equipment like a TC-2, a computer Jacquard hand loom, and a 12-shaft loom, emphasizing complex shaft weaving, especially contemporary techniques such as Network drafting and Echo weaves.
陸佳暉CHIA-HUI LU
任教於國立臺南藝術大學材質創作與設計系。我的課程引導學生透過紡織與實踐來理解本土植物生態，同時也關注我們所處的環境變遷。台灣是一座四面環海的多山島嶼。我創作所使用的材料是「三角藺」（Scirpus triqueter），這是一種生長在河海交匯處的草本植物；它質地柔軟、吸水性佳且纖維強韌，是台灣傳統編織草蓆的常用材料。我鑽研這項傳統編織技藝已近二十年，期望未來能將這種天然材料與工藝技法結合，探索永續設計與創作的各種可能性。
CHIA-HUI LU, teaching in the Department of Material Art and Design at Tainan National University of the Arts. My courses teach students how to understand local plant ecology through textile and hands-on practice, while also paying attention to the environmental changes we live in. Taiwan is a mountainous island surrounded by the sea. The material I create is called "Scirpus triqueter", a type of grass that grows where rivers meet the sea. It has a very soft feel, is absorbent, and has very strong fibers. It is the material used by Taiwanese people to weave mats. I have been studying this traditional weaving technique for nearly 20 years, and I hope to connect this natural material with craft techniques in the future to explore the possibilities of sustainable design and creation.
吳佩珊 Pei-Shan WU
提花多色交織產生正負片效果。再以 電子程式編碼將色彩的編碼當成參數，形成光的編碼，產生新的視覺。意欲在不 同視覺體系的流轉中找尋色彩的意義。
The interwoven, multi-colored jacquard creates a positive-negative effect. By using electronic programming to treat color codes as parameters—thereby forming a code of light—a novel visual experience is generated. The aim is to explore the significance of color amidst the interplay of diverse visual systems.
陳秋竹Chiu Chu Chen
喜歡月桃的質感，也熱愛自己學習材料處理，因此所有月桃都是親自去野外採集、曬乾與處理的。所使用的材料都保留月桃自身的色澤與質感，完全沒有經過後加工或染色的修飾。
Because I love the natural texture of Alpinia zerumbet, I enjoy learning how to process the material myself. Therefore, I forage, dry and process all the Alpinia zerumbet from nature by hand. Every piece retains its natural color and texture, with no extra chemicals or color added.
王世慧SHIH-HUI WANG
從果皮回收製紙的概念出發，回收各種廢棄的水果皮，運用造紙工藝鍊製成一張張纖薄而獨特的裝飾紙。這些紙張自然呈現出果皮的纖維紋理與色彩，同時透過薄紙的特性，拓展紙張在生活中的應用可能。
Inspired by the idea of making paper from reclaimed fruit peels, discarded fruit peels are collected and transformed into delicate handmade papers through the papermaking process.Each sheet naturally carries the colors, textures, and fibers of the original fruit peels. By making the paper thin and translucent, these unique qualities become more visible, while also creating new possibilities for how paper can be used in everyday life.
官郁珊 Yu-Shan Guan
取材自臺灣廟會與遶境中常見的舞獅，以纖維與刺繡保留它活潑、威風又可愛的模樣，將鑼鼓聲與熱鬧片刻轉化為日常裡的陪伴，為生活帶來平安、喜氣與生命力。
Inspired by the lion dances commonly seen at Taiwanese temple festivals and processions, this series uses fiber and embroidery to capture their lively, powerful, and playful spirit. The sounds of drums and gongs and the festive moments are transformed into everyday companions, bringing peace, joy, and vitality into daily life.
