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Wang, Yu-Hsin(Tanivu tapari)


2022 | 2022 Makotaay Eco Art Village Exhibition, Makotaay Eco Art Village, Hualien
2022 | 2022 Mattauw Earth Triennial, Dalongtian Ecological Culture Park, Tainan
2022 | Bimisi – Wang Yuhsin Solo Exhibition, Stone Sculpture Museum, Hualien
2020 | Walking Through the Waves, Resting in This Land – Wang Yuhsin Solo Exhibition, National Taitung Living Art Center
2020 | Departure Project of Residency and Curation Plan, Tenjinyama Art Studio, Hokkaido
2017 | Taitung’s 100 Kinds of Blue, Taitung Art Museum


2023 | Facing the Pacific: Female Artists Pushing Sculpture Forward Opening, Hualien Stone Sculpture Museum
2021 | Hualien Ceramics Festival, Hualien Cultural and Creative Industries Park
2019 | Strength from the Mountain and the Sea: Ceoa . Pusu . Wawa (Land, Root, Ocean), Chiang Kai-shek Memorial Hall,
2018 | Taiwanese Indigenous Ceramics Exhibition, National Museum of Prehistory, Taitung

Artistic Concept

Name of artworks : Awakenings

Media : Tafalong clay, rebar, Terracotta (fragments), Cement, wood

Year : 2023  


Millet (millet) is a traditionally important and sacred grain for Taiwan’s indigenous people. It was discovered at the archaeological site of the Tainan Science Park. The earliest date was about 5,000 years ago. Millet was probably the first to enter Taiwan from the beginning. The Austronesians immigrated, and their dependence in life and its long history have become the main body of agricultural rituals.

I started to develop the creation of the “Awakenings” series in 2015. The content also revolves around the observation of “Austronesian ethnic groups and millet” and “timepieces”, starting from tracing the origin of related millet, mythological stories, planting and related rituals. The top may mean awakening the earth god, or even giving power to crops. In the process of exploration, we understand the animistic thinking of the past indigenous people and their belief in the existence of spirits/supervising gods on the land. Farming is completely dependent on the good weather or severe climate changes that nature may bring. The chances of mastering it are extremely limited.

The spinning top is part of the myths and oral histories of some ethnic groups, as well as descriptions of its use as instruments related to farming rituals and toys. Its shape is also recorded in many drawings and cultural relics. The top has the form of the growth and emergence of all things. It is still a prototype, but it has the possibility of infinite development, symbolizing the infinite extension of our imagination and creative energy.