From Nature to Nature
Curating this exhibition has been an immensely rewarding experience. We began with four categories of natural materials—wood, bamboo, rattan, and fiber—and invited the first round of works from Taiwan as our foundation. From there, we sought out more pieces worldwide that offer distinct differences in aesthetics and craftsmanship.
Throughout the exhibition, these four familiar materials reveal rich and varied expressions shaped by diverse artisanal techniques and cultural aesthetics. Displayed together, they form a harmonious unity. I’ve always believed handcrafted objects often reflect their makers’ personalities. Though many creators don’t know each other, I can’t help but imagine they would get along wonderfully if they ever met.
To honor these materials, artists, and their works, we crafted four material screens for the exhibition. This hands-on curatorial process deepened our understanding of the materials and their unique qualities. Each screen embodies the distinctive joining method and spirit of its material: wood with mortise and tenon, bamboo with weaving, rattan with binding, and fiber—represented by paper—with cutting, folding, and layering, transitioning from rigidity to flexibility to softness. The construction of the four screens draws from humanity’s accumulated knowledge of these materials and serves as a guiding element in the exhibition space, creating tranquil light and shadow effects.
The four screens also became a way for us to get closer to these materials. After hundreds of trials during the process, we selected some elements to create the entrance wall, welcoming visitors with sincere and deliberate handcrafted care.
策劃這檔展覽是一次非常過癮的經驗，我們從木、竹、藤、纖維四類天然材料的手工生活物件出發，先從台灣邀請第一輪作品作為基礎，再向外尋找更多在審美和技術上具有顯著差異的各國作品。
在展覽中能見到這四類我們習以為常的材料，經過不同的手藝工法和各地文化審美，產生出各種豐富的表情，陳列在一起卻又如此和諧統一，我一直認為手工製作的東西往往物如其人，即使這些創作者大多互不相識，卻讓我能大膽想像，他們要是哪天碰面了一定會很合得來吧。
我們為展覽製作了四面材質屏風，想透過雙手在策展過程中更認識這四個材質，也向這些材質、這些作者和作品致敬。從四種材料各自特有的連接方式和氣質出發，木是榫，竹是編織，藤是纏繞，纖維則以紙作為代表，是切剪折，自堅硬到彈性再到柔軟，四面屏風的連接構成方式，源於人類對於這些材質累積出的瞭解，用來作為空間中陳列的引導，也創造幽靜的光影效果。
四面屏風也是我們更瞭解這些材質、與它們靠得更近的方式，我們從過程中上百次的嘗試拿出其中一些，製作成入口牆面，用誠懇緩慢的手工歡迎各位的遠道而來。
2015
LENTUR Vase
Shahril Faisal｜bamboo｜Malaysia
LENTUR Vase resembles a delicate yet poetic masterpiece inspired by the gesture of one's three fingers holding a flower stem. A naturally bent curvature and a tapered triangular shape at the vase tip is formed by manipulating the bamboo’s flexibility and hollow characteristic. Its inner negative space draws the eyes’ movement with its water drop-like silhouette that sets the overall design language which is pure delicacy.
http://www.shahrilfaisal.com/
2015
LENTUR Vase
沙里爾•費薩爾｜竹｜馬來西亞
取一節竹，給予幾刀俐落的切割，製成一只姿態輕盈的花器。它像隻溫柔的手，小心翼翼地捻起一束惹人憐愛的花草。
A few years ago, while exhibiting my work in Europe, I met Shahril at one of the shows. We immediately clicked because of our shared love for bamboo and rattan materials, and had great conversations. Since then, we've run into each other at exhibitions in various countries. Most recently, we were both invited to speak at the Rainforest Arts Festival in Malaysia—such a meaningful coincidence. Our schedules barely overlapped: he was checking out just as I was checking in, but we still managed to have breakfast together at the hotel.
He and his wife used to live in Delft, the Netherlands, but recently moved their studio back to Malaysia to better connect and collaborate with local bamboo and rattan craftsmen and production resources.
This exhibition features two of his works: a floral vessel and a chair. I’ve actually seen many of his bamboo and rattan pieces at various exhibitions, but you won’t find much of them online—probably because, like me, he’s not great at taking photos or keeping his site updated! Hopefully next time we can show more of his incredible works to everyone.
We’re about to kick off an exciting collaboration with him soon—he’ll be coming to Taiwan to co-create a new project. Stay tuned! And a big congratulations to him—he’s going to be a father next week!
幾年前我帶著作品到歐洲展覽的時候，認識了來看展的沙里爾，因為一樣喜歡竹與藤材質，所以我們一見如故很聊得來，後來也在不同國家的展覽上遇到彼此，最近一次是一起受邀到馬來西亞的雨林藝術節演講，和他真是很有緣，那時我們的時間剛好錯開，他check out前，我check in後，還是成功在飯店一起吃了早餐。
他和太太過去在荷蘭的Delft生活，最近把工作室遷回馬來西亞，這樣和當地的竹藤工匠與製造資源能更容易溝通。
這次展覽中有他的花器和椅子兩件作品，其實我在展覽見過他不少竹籐作品，在網站上卻沒看到，大概是和我一樣懶得拍照和更新吧，希望下次有機會能把他更多作品在展覽中介紹給大家。
最近我們即將和他有個很有趣的合作，要把他請到台灣來一起創作，敬請期待。另外要恭喜他，下個星期要當爸爸了！
2016
21g
Seung Bin YANG｜paper, natural lacquer｜Korea
Traditional Korean lacquer ware is made using secretions from the Ott tree. Extremely labour intensive and costly, the technique is becoming increasingly rare.Impressed by the properties of this waterproof, durable, antibacterial and ecofriendly lacquer, as well as its history, Seung Bin YANG brings a modern version to the table with '21g', using a paper base instead of wood. What was once luxurious and heavy has now become light and modern, designed for everyday use. A whole new generation is introduced to this age-old craft in the process.
http://www.seungbinyang.com/
2016
21g
楊尚斌｜紙、天然漆｜韓國
「Ott-chil」是一種來自韓國的傳統漆藝技術，在漆中添加Ott樹的表面受到傷害時釋放出的汁液，這種漆牢固度強且光澤與顯色效果好，如今受到現代化快速生產與消費價值觀的轉變，能夠製作Ott-chil的漆藝師已經越來越少。
韓國年輕設計師楊尚斌向幾位漆藝師學習傳統技術，將本來大多應用於木製奢侈品和祭祀用品的Ott-chil嘗試應用於紙材上，他對於探索奢侈品和日常生活用品間的異同深感興趣，他將電腦繪製的3D圖形以雷射切割製成有稜有角的容器紙胎，經過上漆填補，製成一組十一件的輕盈餐具，每件重量約為21克。
Back when I first began learning lacquer art, I was passionate about discovering new works from around the world that explored the possibilities of the medium. Among them, the series “21g” stood out as one of my favorites, and I’ve long hoped to see it in person. As a curator this time, I finally had the perfect opportunity to invite this series to be exhibited in Taiwan for the first time. Being able to bring in a work I love and appreciate it up close—studying every detail—is truly the most joyful part of this otherwise demanding job. During installation, we held the pieces in our hands, and their lightness was honestly astonishing.
過去初學漆藝的期間，熱衷於尋找世界各地嘗試漆藝可能性的新作品，這組「21g」是我當時特別喜歡的其中之一，一直想親眼見到它們，這次擔任策展人，終於是邀請這組作品首次來台展出的好機會，能將喜歡的作品邀來一親芳澤，認真欣賞作品的所有細節，是這不輕鬆的工作裡最快樂的部分了，佈展時我們將它們拿在手裡，重量果真是輕得不可思議。
2018
Truss me - Children Play Object
Sandeep Sangaru｜bamboo｜India
Kids would love to sit on the elephant. This a fun and sculptural object for a home. As a child grows the elephant can be used in many ways one want to. As a side table with an elegantly shaped glass top or a stool for anyone to sit on or may be as a rack to keep books.
http://www.sangaru.com/
2018
Truss me - Children Play Object
桑迪普‧桑伽魯｜竹｜印度
以竹子製作而成的兒童騎乘玩具，不僅有趣，更兼具實用性，隨著孩子成長之後，這些結構能與桌面結合，成為一個優雅的邊桌，或是適合任何人的小凳子、造形獨特的書架。
這些騎乘玩具採用了設計師桑迪普獨創的「Truss me」三角竹結構，這個結構除了保有竹子的輕便，同時具有堅固的承載力，它擴充了竹材可應用的範圍，除了家具之外，它的模組化系統甚至能成為輕型的空間、避難所，充滿變化與發展的可能，桑迪普持續以這個特色結構發展各式各樣的應用。
This spring, I went to Hangzhou to participate in a bamboo-themed exhibition—that’s where I met Sandeep.
A few of us who work with bamboo gathered during a meal break, sharing our creations and work environments through laptops and phones. Sandeep’s studio is located somewhere in Bangalore, India—a place I had never heard of. To be honest, my knowledge of India barely extends beyond New Delhi and Mumbai. A few Japanese bamboo artists nearby shared the sentiment; all of our studios are in remote areas, and it took quite a journey for everyone to make it to Hangzhou.
When Sandeep introduced his first bamboo piece, we realized we had actually crossed paths years ago at an award ceremony—that very work marked the beginning of his studio. Talking about how his studio came to be, he told us he had been working as a product designer at a company. In his spare time, he created that bamboo piece, which sparked his passion for the material and drew some early attention and opportunities. Eventually, he made the bold decision to leave his job and start his own studio.
In the first few years, he didn’t sell a single piece and had no idea what to do next. Just as his savings were running low, he met a few architect friends who loved his work. They began incorporating his designs into their spaces and collaborated with him on custom furniture, gradually putting his studio on track. Now, his studio has grown to include five or six team members.
We promised to visit each other's studios someday and get to know each other's traditional crafts. For now, he’s sent his bamboo elephant as the first to arrive.
今年春天到杭州參加一個竹子主題的展覽，我是在那裡認識來自桑迪普的。
我們幾個做竹子創作的人在吃飯空檔，拿著電腦和手機在分享彼此的創作和生活環境，桑迪普的工作室位於印度邦加羅爾的一個地方，是一個我沒聽過的地方，但關於印度，孤陋寡聞的我也就知道新德里和孟買而已。圍在一旁的幾個日本竹藝家和我心有戚戚焉，大家的工作室都在不好抵達的地方，這次都是長途跋涉才抵達杭州的。
桑迪普介紹他的第一件竹子作品，才發現好久以前，我們其實曾在一次頒獎典禮上擦身而過，那件作品是他工作室的起點。談起成立工作室的過程，原本他在公司裡擔任產品設計師，在工作之餘創作了那件作品，從中找到了樂趣和對竹子的熱情，也得到一些小小的機會和關注，他便毅然決然離開公司，開始了他的工作室。
剛開始的前幾年，他的作品一個也沒賣出，他也不知道到底該怎麼辦才好，眼看存款要見底了，才因為遇上了幾位喜歡他作品的建築師朋友，在空間案件裡採用，也找他合作一些空間中的訂製家具，工作室才漸漸上了軌道，現在他工作室已經有五六位工作夥伴了。
我們約好要找機會拜訪彼此的工作室，互相認識當地的傳統工藝，這次他派竹子大象先來。
2013
Nude coat rack
So So Studio｜wood｜China
The inspiration comes from the bonfire and Chinese mortise and tenon joint artifacts. Without conjunctions of metal hardware or glue, the work consists of six wood sticks, three long and three short. Remodeling from the straight tenon and Burr Puzzle, we use the simple x-joint structure, as the tuning peg of the huqin, so that it merely takes a turn and a push on the short stick to connect the structure together.
2013
Nude衣帽架
一般工作室｜木｜中國
靈感源於篝火以及中國傳統榫卯工藝，沒有任何五金件與膠合連接，僅由三長三短六根木棍組成，在直榫魯班鎖的基礎上加以創新，並取其最簡單的X鎖結構，像胡琴的琴軸，只需將短棍輕輕旋轉推進就可以連接固定。
After leaving his position as Creative Director at Ogilvy, Mr. Shen Wenjiao founded Yiban Studio. The coat rack they made was their very first design. The one currently on display in the exhibition is actually from my home—and it even has his autograph on it.
About four years ago, I was exhibiting in Taipei when a man with a mainland Chinese accent came by and started talking to me. He carefully examined each of my works and very politely asked, “May I try sitting on it? May I take a photo?” Of course, I welcomed him. We sat down to chat, and he told me he’d seen my work before and really liked it. He said he was surprised to meet me in person because, judging from my name, he thought I was much older and kept double-checking if I was just an assistant.
His studio was also exhibiting at the time, and he invited me to visit their booth. He showed me some photos of their space on his phone, and there it was—the coat rack I had once seen online and really liked but couldn’t buy. (Back then, shipping from Taobao to Taiwan was extremely expensive and package size limits were strict.) I told him about my Taobao dilemma, and to my surprise, here I was now meeting both the designer and the piece in person. What a coincidence! He cheerfully said, “Can I give you one? Come pick it up after we tear down the booth tomorrow.”
Four years have passed, and I still haven’t seen a coat rack I like more. I recently sent a photo of the display to Mr. Shen, and he told me the one I have was the first-generation model. Since then, they’ve gone through several design revisions, and the current version is the fourth generation. He said he’d like to send me another one—and of course, sign it too. Mr. Shen is truly kind. When I had a small exhibition at Nanmen Town 323 last year, he happened to be visiting Taiwan and wrote me a long, heartfelt message in the guestbook. I really appreciated it.
Lately, my coats and bags have been homeless, temporarily piling up on a chair—but soon, they’ll have two homes. Over the years, I’ve often gotten to know new friends through their works. Looking back, I don’t think I’ve ever been disappointed.
沈文蛟大哥在離開奧美廣告創意總監的崗位後，成立了一般工作室，這個衣帽架是他們的第一件作品，正在展場裡陳列的那個，是我從家裡帶去的，上面還有他的親筆簽名。
大概快四年前，那時候我在台北展覽，來了一位操著大陸口音的先生和我說話，把我的每個作品都仔細地看了很久，特別客氣地問能不能坐坐看？能不能拍照？當然歡迎。我們坐下聊天，他說以前看過我的東西很喜歡，沒想到能遇到本人，因為我的名字感覺不像是個年輕人，所以他一直以為我是工讀生而再三確認。
那時他的工作室也有展出，邀我也去他那館看看，他用手機秀了他們展場的照片，裡頭有我在網路上看過，很喜歡但買不到的衣帽架（四年前淘寶買東西送到台灣的運費還非常貴，而且包裹尺寸限制嚴格），我和他說起淘寶的事，沒想到現在會遇上本人和這個衣帽架，真有緣，他開心地說：「我送你一個好嗎？明天撤展的時候來拿吧。」
四年來，還沒見過更喜歡的衣帽架，我把展場的照片發給沈大哥，他說那個是當年的第一代，中間又經過了各種改良，現在最新的是第四代，想再寄一個給我，這次也請他在上頭簽名。沈大哥人真好，去年在南門町三二三舉辦小展覽的時候，他剛好到台灣旅遊，在現場留言簿子上給我寫了好長一段留言，真謝謝他。
我的外套包包失去了棲身之處，這個月暫時雜亂地堆在椅子上，不過就快要有兩個了。在各種地方，好幾次我是經過作品去結識一位朋友的，回頭想想，好像還真沒有失望過呢。
2018
CIRVA Collection
Denny R Priyatna｜rattan｜Indonesia
Cirva is a collection of products that attempt to highlight both inner and outer parts of rattan. Rattan is an environmentally friendly material that is usually bent or woven but is rarely carved except for joinery. However, in these products, rattan is carved so the inner parts of rattan can be functioned to hold or store objects and increase the aesthetic value of the products. CIRVA tries to accentuate the versatility of rattan and can be produced easily by using traditional carving tools.
http://www.dennypriyatna.com/
2018
CIRVA系列
丹尼•皮亞特納｜藤｜印尼
人們通常以彎曲和編織方式來使用藤，鮮少見到切削與雕刻，丹尼•皮亞特納透過安排藤條的並置與雕刻，產生內與外的空間，在這些空間之中賦予生活應用的功能。
I met Denny years ago at an exhibition in Bangkok showcasing emerging Asian designers. It was the first time both of us had been invited to exhibit abroad. He had just graduated from university and was exhibiting collaborative works made with local Indonesian artisans, with his contributions focusing primarily on rattan.
At the time, I wasn’t very familiar with Indonesian design. It wasn’t until meeting several young Indonesian designers at that exhibition that I realized how vibrant and full of energy the design scene there was. Many of them had studied in programs where students worked with real materials to create fully functional objects. Thanks to that practical foundation, even after graduation, they could continue making things by hand and begin small-scale independent production.
Through exhibitions and media exposure, they gradually gained visibility and started trying to sell their work—some even turning this into full-fledged careers. Most of the Indonesian and Thai designers I met back then had started young and built from the ground up this way. I truly admired that, and it left a lasting impression and inspiration on me at the time.
和丹尼是多年前在曼谷一個亞洲設計新銳的展覽上認識的，那是我和他第一次受邀到國外參展，當時他才剛從大學畢業，他和其他兩位印尼朋友共同展示和印尼當地工匠合作的製品，而他的部分是以藤為主的。
我對印尼的設計很不熟悉，在那次展覽認識幾位印尼年輕的設計師之後，才驚訝於印尼是如此有設計活力。這幾位設計師，在大學時期由於在學校的作品大多是採用真實材料去製作能真的使用的物件，在這前提下，後來那怕是自己手工製作，大多都有機會能夠進行獨立小量生產，接著嘗試在展覽和媒體下被看見，開始試著銷售起自己的作品，有些人便藉此展開自己的事業，當時結識的印尼和泰國設計師大多是這樣早早開始的，很是佩服，也給那時的我寶貴的衝擊和啟發。
2018 Taitung Design EXPO
「From Nature To Nature - International Craft Exhibition」extended event
Tatiung Art Museum plaza installation art
2018
The Nest
果然氏 Crop Lai Guo-Rei, Jing Yang-Rei
I gather offerings from the nature and build a nest where adult birds can perch and juvenile birds can live. We show our forbearance when kids crying and obtain the enjoyment of their smiles. Here, you may see me in the past; while I see you from the future. We welcome our friends’ visiting and the participation from the new neighbors. Being solid and vast, this site embraces mountains and the ocean. This is our home, Taitung.
2018 臺東設計展 Taitung Design EXPO
「自然而然 - 國際工藝展 」延伸展覽與活動
臺東美術館戶外廣場裝置藝術
2018
巢
果然氏 Crop 賴國睿、荊暘睿
集結大自然的給予，搭建一個巢，讓成鳥停留，讓雛鳥長大。我們包容孩子們的哭鬧，也喜悅他們臉上的笑容，在裡頭，你看見以前的我，在裡頭，我看見未來的你。我們歡迎朋友的拜訪，也歡迎新鄰居的加入。因為這裡是一個有山與海的地方，既穩靠，又廣闊，這裡是我們的家－臺東。
“But I’ve never made a large-scale piece before.”
“I know—and that’s exactly why I want you to try your first one. Don’t worry, we’ll figure things out together if anything comes up. Just give it a shot.”
Guoran Studio (Crop) was founded by my university classmate and their family, who later moved to Taitung to live and create. I’ve always loved the way they work with driftwood—their creations reveal a kind of playfulness and softness rarely seen in driftwood art.
When the opportunity came to create an outdoor installation for the Taitung Design Exhibition, they were the first people I thought of. After three sun-drenched weeks of hard work, their very first large-scale installation was finally completed, and as expected, it embodied Guoran Studio’s signature warmth and gentle charm.
「可是我沒做過大型作品耶。」
「對呀我知道，就是因為這樣才想找你來做第一個，別擔心，有什麼狀況我們都可以討論儘量想辦法搞定，你就試試看吧。」
果然氏是我的大學同學，後來他們一家到臺東生活和創作，喜歡他們用漂流木創作的物件，是在眾多漂流木創作裡，不常見到的一種可愛、柔軟的表情。
這次臺東設計展有個戶外裝置創作的機會，馬上就想到了他們。在大太陽下辛苦地曬了三個星期之後，他們的第一件大型裝置作品總算大功告成，果然是果然氏的那種可愛柔軟的樣子。
2018 Taitung Design EXPO
「From Nature To Nature - International Craft Exhibition」extended event
Taimali Cafe installation art
2018
Strength from Paper @Taitung
Pao Hui KAO, and students from Shinshen Junior Hign School fine arts program: Ai KUNG, Yu WU, Wei Tung LIN, Lu Chen KAO, Chen Chi HSU, Chen Hsin LIAO
“One of the most painful things I know,” says Pao-Hui KAO, “is having to doubt what you’ve always deeply believed in.” Questioning your beliefs is difficult, but Kao has found it necessary and ultimately fruitful. Choosing as a metaphor to illustrate her conviction, Kao has investigated what happens when you take a different approach to things you take for granted.
Water is considered a danger to paper. However, when it absorbs water, the paper’s inner structure is reinforced. The water interferes with and rearranges the flat net of paper fibers. It turns an ordinary piece of paper into a material with extraordinary capabilities and a unique aesthetic. Pao-Hui KAO wants us to reflect on the transformative power of this approach. If an old enemy – water – can transform a weak sheet of paper into a strong material, fit for construction, just think what could happen to our preconceived ideas in the real world…
https://www.paohuikao.com
2018 臺東設計展 Taitung Design EXPO
「自然而然 - 國際工藝展 」延伸展覽與活動
太麻里文創咖啡館
2018
皺紙計劃@臺東
高寶惠，與新生國中美術班學生龔愛、吳悠、林韋彤、高履真、許辰琦、廖晨昕
「質疑一件你深信不疑的事實絕對不是一件容易的挑戰，然而，這絕對是值得且必要的嘗試。」
紙張是最貼近日常生活的材料之一，使我們對紙張有著一個既定的形象，她必需是平坦的、擁有無暇表面的那般存在，同時普遍認為水會對紙產生威脅、破壞無暇的紙性，因此存在著「紙張與水必須被分開」的既定觀念。而對藝術家高寶惠來說，水並不是紙的宿敵；相反的，當水與紙結合時，水會誘發紙張起皺，紙張風乾後因為皺褶生成的結構力而強壯。若我們仍然堅持水與紙之間的安全距離，那麼紙終究只是一張用來書寫的紙，也會錯失其中潛藏的美感與可能性。
While planning the From Nature to Nature International Craft Exhibition, I hoped to include a fiber-based work by my friend Pao Hui KAO, who now lives in the Netherlands. Her project Strength from Paper has always fascinated me—delicate, fragile paper gains strength through water-induced wrinkling, yet retains a graceful lightness. It’s one of those pieces I’ve long wanted to share with a wider audience.
This series works best when presented in large scale—the bigger it gets, the more surprising its transformation becomes. Although Pao said she could create a smaller version, we really wanted to preserve the impact of the original size. But when we received the international shipping quote, the cost was shocking. After some consideration, we made a less-than-logical but far more human decision: we flew Pao back to Taiwan, so she could create the work on-site in Taitung.
A local café in Taimali—once a Japanese police dormitory—offered its space in support of the Taitung Design Exhibition. The atmosphere of the place was perfect. And things took an even more delightful turn when we connected Pao with the art class of Xinsheng Junior High School. A few girls were intrigued by her work, and thus began a summer collaboration between the artist and a group of curious students.
“At first, they were so worried about doing it wrong—the shape wasn’t round enough, or smooth enough, or it had holes. They put so much pressure on themselves. But this project is meant to be relaxed and joyful. There’s no need to be so anxious.”
After some time with this gentle big sister, the girls slowly let go of their nerves. Together, they explored beaches, used seawater as ink to create fine textures on paper, then cast around pieces of driftwood and local materials to shape their works. They worked while playing, moving up and down the East Coast—and just like that, nearly a month had passed.
The Taitung edition of Strength from Paper is made of rice, seawater, air, and sunshine. It’s a gift from Pao to Taitung—and an unexpected summer memory for the girls who helped bring it to life.
在籌備自然而然國際工藝展的過程中，纖維的展區想要邀請現在居住在荷蘭的朋友高寶惠的皺紙計畫作品，纖細脆弱的紙材透過遇水起皺產生數倍的力量，而且成品依然保有輕盈纖細的氣質，很有意思，是想要在展覽中介紹給大家的作品之一。
因為這系列作品尺寸龐大，雖然阿寶表示也能做小件的，但量體大的話，特別能表現與紙張印象的反差感，特別有驚喜，所以還是想要展大件的，拿到國際運費的報價之後貴得嚇人，幾經評估之後，我們決定直接付機票將阿寶的肉身運回台灣，她直接到臺東現地生產。
市區的太麻里咖啡也提供店內空間，響應這次的臺東設計展，這個空間過去是廢棄的日式警察宿舍，覺得很有意思，就把這裡也交給阿寶來做空間創作，後來我們找到臺東新生國中的美術班合作，幾個小女生對阿寶的作品有興趣，於是促成了阿寶帶著這群小女生一起創作的暑假故事。
「一開始她們都會擔心自己做得不漂亮，不夠圓、不夠直、有破洞，給自己很多壓力，可是這個計劃應該是自在、開心的，不需要那麼緊張兮兮呀。」
和這位大姐姐多相處一陣子之後，她們才逐漸熟悉，變得放鬆下來，開始開心地享受過程，不再小心翼翼。她們一起到太麻里海邊，以海水為墨，在紙張上留下細緻的紋理，再用撿拾到的漂流木和各種材料作為胎體來翻製，邊做邊玩，沿著東海岸四處製作，一天一天，竟然也就過了將近一個月。
皺紙計畫在臺東，這次的材料有臺東的米、海水、空氣、陽光，這是阿寶獻給臺東的作品，也是這群臺東女孩意想不到的暑假作業。
2018
From Nature to Nature - International Craft Exhibition
Long, long ago, human beings took from nature with both hands. What could be extracted from nature was never in excess but was always sufficient. Human beings maintained a relationship of balance with nature; not as the master of their world, but as a part of nature. In the present era of rapid production, consumerism, and disposability, there still remains a segment of human society with unhurried hands who persist in a coexistence with nature.
Beginning with four natural materials most prevalent in Asia: bamboo, rattan, wood, and fibers, and surveying the guises these materials take on in various regions of the world – they may differ in the diversity of aesthetical culture, in the applications of materials and handcrafting techniques, but what remains the same is the sense of awe and love for nature.
Nature, naturally, this was once the original appearance of the world.
2018 | Taitung Design EXPO | 08/10-09/02 | Ocean gallery, Taitung Art Museum
curator | Cheng Tsung FENG
exhibitor | Shahril Faisal, PATAPiAN, Vassana Saima, Korakot Aromdee, Chun Han LIN, Chun Ko WEI, Hajime NAKATOMI, Sandeep Sangaru, Shahril Faisal, Denny R. Priyatna, Edric Ong, Senia Jugi, Cherry Gadung, Noraini Weng, Saleha Blaweng, Rinai Su, Tebuh Wan, Cynthia Seman, Bungan Megut, Easterratta, Chun Shan LIN(Ami), Chuan Hsiung WANG(Siraya), Shun Cheng LI(Puyuma), Tai Fa HSU(Ami), Supachai Klaewtanong, Iyo Kacaw, Less is Casa, Crop, SOSO Studio, Cheng Tsung FENG, PARSEC, Chia ling CHANG, Al Caronan, Pao Hui KAO, Seung Bin YANG, Nature, Unique Tapa, Woo Jai LEE, A.M IDEAS, iliworkshop, Kakawasan, Ying Ming HUANG, Tennii Studio
adviser | Ministry of Culture, Council of Indigenous Peoples, Small and Medium Enterprise Administration, Ministry of Economic Affairs.
organizer | Taitung County Government
executive Unit | Blue Dragon Art Company
special thanks | ATA Beads, Chung Chang HO, Ruei Shin MAO, Yu Chen CHEN, Hung Yi LEE, Lu Chia LIN, Kuciling Katatepan, Mao Man CHEN, Hsiao Yun HUNG, Wei Chen SONG, Chi Yung CHEN, Yuan Chen CHANG
2018
自然而然 - 國際工藝展
很久很久以前，人們透過雙手取之自然，能從自然拿取得不多，僅是剛好而已，人與自然的關係平衡，並非世界的主宰，僅是自然中的一份子。現在，在這個快速製造、消費、丟棄的時代裡，有一群人，仍堅持用緩慢的雙手與自然共處。
從臺灣常見的竹、藤、木、纖維四類天然材料出發，進而向外觀照這些材料在世界各地的樣貌，不同的是多元的審美文化、材質應用與手藝工法，而相同的是對自然的敬畏與愛戀。
自然而然，那是世界曾有的本來面貌。
2018 | 臺東設計展 | 08/10-09/02 | 臺東美術館海舞廳
指導單位 | 文化部、原住民族委員會、經濟部中小企業處
主辦單位 | 臺東縣政府
執行單位 | 蔚龍藝術
策展人 | 范承宗
參展人 | 沙里爾•費薩爾、帕達皮耶、瓦莎娜・賽瑪、寇拉寇・阿羅迪、林群涵、魏忠科、中臣一、桑迪普‧桑伽如、沙里爾•費薩爾、丹尼•皮亞特納、王良民、賽妮雅・朱吉、傑瑞・嘉丹，諾萊妮・維恩，莎蕾哈・芭菈薇恩，瑞納・蘇、泰芭・薇恩、辛西婭・席瑪、辛西婭・梅根，東峰藤業、林純山(阿美族) 、王川雄(西拉雅族) 、李順成(卑南族)已故、許泰發(阿美族) 、蘇帕猜・克萊瓦塔、伊祐噶照、少的：生活器物、果然氏 Crop、一般工作室、范承宗、樹革、張家翎、艾爾•卡諾南、高寶惠、楊尚斌、拿鞘、獨樹依織 unique tapa/樹皮布創作工作室、李巫嘉、凌晨工作室A.M IDEAS、一粒工作室 - iliworkshop、石山部落、黃英明、天染工坊
設計統籌 | 考工記工作室
專案設計 | 林瑋群
展場工務 | 高獻庭
燈光設計 | 何仲昌
藝術行政 | 毛瑞馨、陳祐菁、李紅逸、林律嘉
專案助理 | 陳琦顒、張媛珍
特別感謝 | 臺東美術館、卡塔文化工作室 Ata Beads、陳妙曼、洪小雲、賴國睿 Graet Lai、宋偉丞、楊子弘、姚翔仁、尹睿蔙、王怡真