UV print on metal, ceramics, shelf, plants|Installation size|2012-2018


A kind of potted plants in modified blue plastic drums can often be found in front of the neighbor’s doors back in my hometown. The distinctive industrial blue and boring plastic texture are a little bit out of place among traditional ceramic pots and brick-red plastic bowls. These plastic containers in diverse forms were originally used in factories to contain raw materials, wastes, lube oil, or half-finished products.


In Taiwan, the borders between industrial, agricultural, and communities and factories area have always been blurry, and communities and factories grow together; with the tradition of family factory, some unwanted plastic containers were often taken back by neighboring household, and turned into plant pots through the folk’s unusual gift of discovering new value in objects. This is a virtue where things are never wasted, but also displays the aesthetics of misuse.


When compromises in human feeling and social environment that is yet fully developed receive trivial compensations through these replacement containers, the plants that are deeply rooted in compromises in life will continue to thrive despite their lack of beauty and sophistication in the alleys as they take advantage of the surroundings.




在我老家的鄰里門前常見一種用藍色塑膠桶改造而成的盆栽,鮮明的工業藍和乏味的塑膠質感在傳統的陶盆和磚紅塑膠盆中稍顯突兀。這一系列樣式多變的塑膠容器,原本是在工廠中作為盛裝原料、廢料、機油或是收納半成品所用。在台灣住工農界線模糊,社區與工廠接壤發展,家庭代工模式遺留背景之下 ,有些工廠淘汰的塑膠容器會被附近鄰居討去,藉由庶民再開發物件價值的異常天份成為了妝點門面的一叢叢花木──這是一種惜物的美德也是錯用的美學。當人情的妥協與有待完善的社會環境透過這些替代盆器得到微不足道的補償;扎根在生活種種將就之中的植物,即便植地不算精美,依舊得益於優勢風土在巷弄中生的盎然。



Sailing In The Dark Cave - The Historia Naturalis of Sino Art|Lin&Lin Gallery,Taipei,TW|2016


Carnets flâneur|Galerie Frédéric Moisan,Paris,FR|2017


Treasure Hall Artist Village,Taipei,TW|2018 (Day view)


Treasure Hall Artist Village,Taipei,TW|2018 (Night view)



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