2026新北濕地藝術季
作品介紹
Introduction of works
淼林‧森之境
The Evolving Realm of the Forest
作者:張國耀
媒材：大竹、桂竹、鋼筋尺寸：1000 cm(L)x 600 cm (W)x 300 cm(H)
2023 年《淼芽》在濕地初生，2025 年《淼種》破殼綻放；到了 2026 年，那些承載著水澤養分的生命核心，已然在時間的淬鍊下，蔓延、集結成一片純粹而強大的《淼林》。
本作品將目光從單一生命的誕生，放大至生態系整體的共生與場域。今年大膽突破以往柔美的細竹片編織，改以剛硬挺拔的「完整竹管」作為核心語彙。透過多根竹管集結成束的剛勁結構，模擬森林樹幹拔地而起的動態張力。
當民眾穿梭步入這片由竹構築的微型森林，仰望藍天與遠方的新月橋時，人、作品與濕地環境融為一體，共同見證這片濕地最純粹的美，走進與大自然共鳴的「森之境」
Following Seed Infinity (2023) and Seed Infinity 2.0 (2025), The Evolving Realm of the Forest marks the culmination of life nourished by the wetlands into a powerful collective forest.Shifting focus from individual life to ecosystem symbiosis, the work moves away from delicate bamboo weaving to use upright, intact bamboo stalks. These bundled structures replicate the dynamic tension of tree trunks rising from the earth.Wandering through this bamboo micro-forest toward the sky and Crescent Bridge, visitors, artwork, and environment merge, creating a shared moment of resonance with nature.
森之初
Where the Forest Begins
作者:張國耀
媒材：桂竹、鋼筋、回收布料
尺寸：250 cm(L)x 150 cm (W)x 130 cm(H)
森林的形成，始於一顆種子、一滴水，以及無數微小生命的萌發。
本作品邀請參與者共同創作，以回收布料編織芽體，將被遺忘的材料轉化為新的生命形態。每一道編織痕跡皆來自不同雙手，如同濕地中的生命網絡彼此連結，共同孕育出森林最初的模樣。
共創機制
本作品為社區共創。邀請參與者共同創作，以回收布料編織芽體
由藝術家引導民眾與在地社群使用回收布料。參與者將在編織過程中，親手完成個別的芽體單元，最後由藝術家與民眾共同串連、組裝為大型裝置作品
A forest begins with a single seed, a drop of water, and tiny emerging lives. This participatory artwork transforms discarded materials into new life forms by weaving recycled fabric into sprouts. Each weave reflects different hands coming together, mirroring the interconnected ecosystem of the wetland that gives birth to the genesis of a forest.
Co-creation Process：
This community project invites the public to weave sprouts using recycled fabric under the artist's guidance. Participants create individual sprout units, which are then assembled together into a large-scale installation.
視角的相對論－《地表消隱》
Terrestrial Erasure
作者:林暐翔
媒材：高反射鏡面複合材料、透明網、現地電塔結構尺寸：1150cm (L) X 1150cm (W)X 300cm (H)
以電塔水泥墩為創作載體，透過高反射鏡面材料映照天空、植被與周遭環境，使原本突兀的人造結構在特定視角下逐漸融入景觀。鏡面下方延伸至約2.8公尺高度的透明網層，形成一條懸浮於電塔之間的「水位線」，將原本隱藏於監測數據中的警戒水位，轉化為一個可以穿越、感受與想像的空間，讓觀者站在「水面之下」。觀者可從水面下方穿越，在行走與觀看的過程中，經驗地表、天空與人造結構彼此錯置的瞬間。藉由「消隱」重新思考人造設施與自然環境之間的界線。
Using the concrete foundations of a transmission tower as the structural basis, Terrestrial Erasure employs highly reflective mirror materials to reflect the sky, vegetation, and surrounding landscape. From certain perspectives, the intrusive presence of the man-made structure gradually merges into its environment.
Extending to approximately 2.8 meters above ground, a layer of transparent mesh forms a suspended “waterline” between the transmission tower structures. It translates the warning water level—normally concealed within monitoring data and technical measurements—into a spatial experience that can be physically traversed, sensed, and imagined, allowing visitors to position themselves beneath an imagined water surface.
Visitors can move through the space beneath this “waterline,” experiencing moments in which the ground, sky, vegetation, and human-made structures become visually displaced and interwoven. Through the act of “erasure,” the work invites a reconsideration of the boundaries between infrastructure and the natural environment.
視角的相對論－《生態浮現》
Ecological Emergence
作者:林暐翔
媒材：高反射鏡面複合材料、彩色光學反射膜
尺寸：6.3m (圓周) X 數座
將彩虹光學反射膜配置於透明介面之上。這些生物影像隨著光線、距離與觀看角度產生反射與折射，在接近時逐漸浮現，遠離時又重新隱沒。將「觀看」轉化為一種觸發機制，使自然不再只是被觀看的對象，而成為與觀者互相傳遞訊號的存在。透過集體創作，無數個體的觀看經驗共同構成一層若隱若現的生態記憶。
共創機制
透過工作坊邀請參與者共同觀察濕地中的植物、鳥類、昆蟲與水生生物、製作濕地生物的剪影，使用彩虹膜材料貼附於透明介面之上。透過工作坊呈現的成果，黏貼在鏡面反光的柱面上，隨著不同角度與距離的觀看，濕地生物的顯影也隨之變化。
Iridescent optical film is applied to transparent surfaces, carrying images of living organisms that shift through reflection and refraction in response to light, distance, and the viewer’s angle of observation. As viewers approach, the images gradually emerge; as they move away, they once again recede from view.
Here, “looking” becomes a form of activation. Nature is no longer presented merely as an object to be observed, but as a presence that responds to and communicates with the viewer. Through collective creation, countless individual acts of looking come together to form a layer of ecological memory—one that continuously appears and disappears in response to light, movement, and perception.
濕地之鏡
The Mirror of the Wetland
作者:李明晃
媒材：玻璃、金屬構件
尺寸：單座水上部分：2公尺四方錐型
濕地的價值在於涵養、淨化與保護多樣性，此地的濕地還擁有景觀與民眾遊憩等作用，然而大多功能位於水下，本組作品目的在讓 民眾看見濕地的水下樣貌，包含植物，魚類以及清澈狀態，並從中思考上述濕地各項重要功能之中，有哪些是我們可以更深入探討的？（例如外來種魚類等）
Wetlands sustain biodiversity and scenic recreation, yet their core functions remain underwater. This artwork reveals this hidden realm—its plants, fish, and clear waters—prompting deeper reflection on ecological issues like invasive species.
『根』意象
Ｔhe Image of Ｒoots
作者:李明晃
媒材：竹子、龍骨瓣莕菜
尺寸：200(L)x 200(W)x250cm(H)
以竹子作為本作品的主體框架，藉由竹條的直線性與韌性製作成類似拱門結構，並將其重複排列，象徵水下眾多的水生植物，本次作品結合 『濕地之鏡』主題，目的在呈現濕地的水下樣貌 ，並藉此意象凸顯出濕地豐富的生物多樣性。
Using bamboo as the main structural framework, the piece utilizes the linearity and flexibility of bamboo strips to form arch-like structures. Arranged in repeating patterns, these arches symbolize abundant underwater aquatic plants. Tied to the theme 'Ｔhe Mirror of the Wetland,' the artwork reveals the submerged landscape of the wetland, employing this textual imagery to highlight its rich biodiversity.