revisit and fix the work at Cheng Long Wetlands

 

Due to the strong winds and heavy rains last month, the works at Cheng Long Wetlands had some changes. I was told only one of the three starfish (the big one) stayed as before. The other two had escaped the posts that held them at place and swam away. The middle one got stuck at the shore near the road and the smallest one went forward and got tangled in the water somewhere westwards.

It's interesting to see that the small one finds itself a good spot which happened to be on the line with the big under the sunshine and facing west, where the sea is located.
I decided we just need to tow the middle one back and leave the small one at the new spot. Many people came to help again, including Wu Liao and Hsiao Yu and her friends, along with volunteers from the village and  the head of fire brigade with his colleague. Thanks to everybody.

Here are some photos before and after the fixing. The new positions of each starfish makes the work even spanned broader in the wetlands, more ventured to the sea ....... 

kids and their teacher who helped the Cheng Long Wetlands project and had fun!!!!

《Returning to the Sea》-- A work for Cheng Long Wetlands

 

 

some more photos from Tim and QQmei:

Statement

Cheng long wetlands is a place of farming land reclaimed by the sea. I made the work ''returning to the sea', using the form of starfish to represent its oceanic features, as well as its abilities of regeneration and adaptation; while putting the work in the salty water, try to create a structural base for oceanic biotopes in the newly-formed wetlands.


The work is constructed with bamboos and oyster shells, applying the industrial technique of the local oyster farming, but replacing the metals and plastics with natural materials such as ropes, to assure it won't harm the wildlife in the wetlands. The work has been assisted by many people, including the elders from the community, the students from Cheng Long elementary school, and the volunteers recurited by Kuan Shu Educational Foundation. The last finishing touch of the work before its installation in the water is like a decorating moment for celebrations, with a bunch of people hanging oyster shells onto the bamboo structure rejoycingly. It is great fun and turning the perspective and scope from a human's back to the Nature.

I particularly thank David Haley, a good friend and British artist, whose generous sharing of his knowledge and experience has inspired this work.

more info at: http://artproject4wetland.wordpress.com/ & http://wetlandcenter.blogspot.com/  

some thoughts on THAV project

Some thoughts on THAV project

It is really difficult for me to summarize my work in a few words for now.

Some part of the project is still on going and I'm still ruminating on the extensive effects of it.

I found this introduction of my initial proposal on THAV website very helpful although there are a few changes due to the practical situation after the beginning of my residency:

Having the concept and methodology referred to ecological sustainability, Chou will transform her room into an ecological art studio, which is able to carry out research regarding interaction between neighborhood inhabitants and to promote education by collaborating with schools in close proximity to thevillage. Through a long-term residence, three steps will be accomplished in succession. Soil nourishing: take good advantages of leftovers and earthworm to generate manure. Soil exchange: in cooperation with TSUEI MA MA Foundation’s office in Treasure Hill and through its community service and social intervention, Chou intends to trade soil and manure, with the propose of encouraging dwellers to plant, to take care of the landscape and to cherish natural resources. Last but least, she plans “edible landscape” attempts to unite colleges, elementary schools and community universities nearby, in hope that people who live in the  “concrete jungle” get a chance of being intimate with the soil and get in touch with the natural ecological cycle that sustains plants.

I started with collaboration with Italian artist Carlotta Brunette, working on the “Edible Landscape” first and carried out my own plan of the workshop and lecture series. Then I finished the first compost installation at a spot near the artist village office, invited the staff and resident artists starting composting. When the job of the big garden down at the riverside was finally approved to be taken, Carlotta had completed her residency and left for home with a garden design behind. I took over, working and developing further the garden plan with community residents and artist village volunteers. When the basic pattern was done, I divided the garden into sections, and let community residents take over and grow vegetables on their own lots. The garden becomes a community center, with many visitors passing by and residents come to tender their plants. The effect was big. Some residents began to clean their front court and start planting again. Some even came forward to ask if they can grow more vegetables at other unused land. Through planting and growing, the community seems to come to alive again.

For myself, as an artist who has been living in the cities for most of her life, the tangible experience of touching the soil, feeling the weather and seeing the plants as well as other life forms coming out on earth has been enormous. With the laboring work spent in the garden, I put myself into the physical involvement and connected back to the Nature. It is more a substancial engagement rather than a conceptual practice that strikes me most. And it also connected the community residents to their past memory and life histories.

I added celebration to the project, holding an event collaborated with the community on the holiday before Spring Equinox, involving the children from the community and resident artists to perform. The core spirit is working together and celebrating together, creating a value and sustainable lifestyle in Threasure Hill. 

(photo by Chung-Yen Chang, Heidi Yu)