我們的繁榮，來自她們的每個清晨-平仙妮個展

展期：2026/9/12-10/3

開幕式導覽＋工作坊：2026/9/12(六), 15:00-17:00

地點：藝站 One Station 

創作理念

《赤色浮塵下》源自於對土地與日常生活的觀察，以天然素材、廢棄物與日常材料交織創作，探索自然與人為、土地與生活之間交錯共生的關係。

作品聚焦於日常勞動、生命力與生活記憶。那些看似平凡而反覆的動作與身影，構成生活延續的基礎，也讓人重新看見繁榮背後所依賴的土地、資源與勞動。

創作中，我以自身發展的「寶 Bao」作為視覺語言，將所觀察到的土地、人物、勞動與生活片段重新轉譯。寶 Bao 不只是形象，也成為連結不同地域與生活經驗的媒介。

本次展覽亦延伸展出過去於台灣創作的太陽能板作品，使不同時期、不同地域的創作在同一展覽中相遇。從土地、能源到人的生活，作品彼此呼應，延伸出對資源、環境與生活方式的思考。

透過材料的轉化、寶 Bao 的語言，以及跨地域作品之間的連結，《赤色浮塵下》從日常出發，回望人與土地之間的關係，試圖讓那些支撐我們生活與繁榮、卻經常被忽略的力量重新浮現。

平仙妮簡歷

為台灣跨領域藝術家，創作涵蓋裝置、空間實踐與材料實驗，關注跨文化經驗、記憶、身體感知，以及人與地景之間的關係。她運用紙板、土壤、布料與日常及回收材料，結合光影與空間，探索生活中細微的情感與經驗。「Precious Bao」為其持續發展的創作角色與視覺符號，串聯個人記憶、地方文化與人際關係。

平仙妮畢業於台灣銘傳大學商業設計學系，2007至2008年間曾於英國倫敦藝術大學 Camberwell College of Arts 修習插畫。近年以藝術家駐村作為跨文化創作的重要實踐，曾於台灣、印度及葡萄牙進行駐村，包括 Farm Studio、Prisma Estudio 與 Buinho Creative Hub。

作品曾於台灣、印度、葡萄牙及中國等地展出，並參與 Art Taipei、AHAF Hong Kong、Malaysia Art Fair 等國際藝術博覽會。近年持續發展以「跨文化敘事」為核心的創作實踐，透過材料、空間與地方經驗，建立具有流動性與情感性的藝術語言。

主辦單位：藝站跨藝社  

組織營運贊助：國藝會    

贊助單位：太平洋建設  

Our Prosperity Comes from Their Every Morning

- Hsien Ni Ping 

Dates: Sep 12 – Oct 3, 2026

Opening Reception & Workshop: Sat 12 Sep, 15:00-17:00

Venue: One Station 

https://www.facebook.com/HsinchuXiangshan

Statement

Under the Red Dust originates from an observation of land and everyday life. Through the interweaving of natural materials, discarded objects, and everyday materials, the work explores the interconnected relationship between nature and human intervention, and between land and lived experience.

The work focuses on everyday labor, vitality, and memories embedded in ordinary life. Seemingly simple and repetitive gestures and figures form the foundation upon which life continues, inviting us to reconsider the land, resources, and labor that sustain the prosperity we often take for granted.

In this body of work, I use Precious Bao, a visual language I have developed over time, to translate and reinterpret observations of land, people, labor, and fragments of everyday life. Precious Bao is not simply a recurring figure, but also a medium through which different places and lived experiences can be connected.

The exhibition also extends to include a solar panel work previously created in Taiwan, bringing works from different periods and geographical contexts into dialogue within the same exhibition. From land and energy to everyday human life, these works resonate with one another, opening up reflections on resources, the environment, and ways of living.

Through the transformation of materials, the language of Precious Bao, and the connections between works created across different places, Under the Red Dust begins with the everyday and returns to the relationship between people and land. It seeks to bring into view the often-overlooked forces that sustain our lives and the prosperity we share.

about Hsien Ni Ping

Hsien Ni Ping is a Taiwanese interdisciplinary artist whose practice encompasses installation, spatial practice, and material experimentation. Her work explores cross-cultural experience, memory, bodily perception, and the relationship between people and landscape. She works with cardboard, soil, fabric, and everyday and recycled materials, incorporating light, shadow, and space to explore subtle emotions and experiences embedded in everyday life. Precious Bao is an ongoing artistic character and visual language that connects personal memory, local culture, and human relationships.

Hsien Ni Ping holds a BA in Commercial Design from Ming Chuan University, Taiwan. From 2007 to 2008, she studied Illustration at Camberwell College of Arts, University of the Arts London. In recent years, artist residencies have become an important part of her cross-cultural practice. She has undertaken residencies in Taiwan, India, and Portugal, including at Farm Studio, Prisma Estúdio, and Buinho Creative Hub.

Her work has been exhibited in Taiwan, India, Portugal, and China, and presented at international art fairs including Art Taipei, AHAF Hong Kong, and Malaysia Art Fair. In recent years, she has continued to develop a practice centered on cross-cultural narratives, using materials, spatial experiences, and local contexts to build an artistic language that is fluid, intimate, and emotionally grounded.

Organizer: One Station of Trans Art

Sponsor: National Culture and Arts Foundation  

Pacific Construction Co., Ltd.

 

智慧之竹-湯明煦/Bamboo Wisdom-Tamás SZVET

展期：2026/8/13-9/5

開幕式導覽＋座談會：2026/8/15(六), 15:00-17:00

地點：藝站 One Station 

https://www.facebook.com/onewetland

竹子作為一種天然材料，幾乎被運用於生活的各個層面——從建造房屋、製作日常工具，到生產環保產品與化妝品；竹筍更是廣受喜愛的食材。竹子也被種植以協助防止土壤侵蝕與山崩，因為它生長迅速，並在地下形成彼此連結的網絡，新的竹筍由此持續萌生。

本次展覽從竹子汲取靈感，將其材質特性轉化為其所蘊含智慧的具體呈現。長久以來，竹子一直是融入日常生活的隱喻，承載並傳遞著文化知識。正如臺灣諺語所說：「竹子愈高，頭愈低垂。」這句話提醒我們，真正的力量來自柔韌與謙遜。在道家哲學中，竹子象徵著堅韌：它深深扎根，卻依然保有柔韌性。在風水中，人們相信竹子能為空間帶來和諧、正向能量、好運與穩定成長。從佛教的觀點來看，竹子代表純粹，以及源自謙遜的力量。它中空的內部結構則暗示著開放的心境，以及讓智慧流經我們的能力。

每件作品皆受到竹之智慧的啟發——柔韌、堅毅、力量、成長、合作與適應力。作品透過竹子尋求帶來支撐與平衡，並引導我們關注大自然持續分享的啟示，陪伴我們面對當代生活中的種種挑戰。

湯明煦（1982年生）是一位出生於匈牙利的視覺藝術家與藝術教育工作者，自2019年起定居臺灣。他曾於歐洲多地求學，並於2018年取得匈牙利美術大學藝術博士學位。他的創作聚焦於協作式、呼應場域的公共藝術作品，探索感知、記憶，以及人與地方之間的關係。他主要運用竹材、金屬、光線與在地取材進行創作，營造沉浸式環境，試圖拓展可見之境。

他的作品經常將地方歷史、生態條件與社群連結轉化為空間體驗，邀請觀眾透過移動、觀察與親身參與，與作品產生互動。透過公共藝術與地景藝術，湯明煦致力於在人類經驗、自然力量與地方不斷變遷的特質之間，創造富有意義的相遇，並開啟關於共存與環境意識的對話。

Artist’s Website / 藝術家網站: szvettamas.com

主辦單位：藝站跨藝社  

組織營運贊助：國藝會    

贊助單位：太平洋建設  

Bamboo Wisdom-Tamas SZVET

Dates: Aug 13 – Sep 5, 2026

Opening & Artist talk: Sat 15 Aug, 15:00-17:00

Venue: One Station 

https://www.facebook.com/HsinchuXiangshan

As a natural material, bamboo has been used for nearly everything—from building houses and making everyday tools to producing eco-friendly products and cosmetics—and its shoots are even enjoyed as food. Bamboo is also planted to help prevent soil erosion and landslides, as it grows rapidly and forms an interconnected underground network from which new shoots continuously emerge.

The exhibition draws inspiration from bamboo, transforming its material qualities into representations of the wisdom it embodies. Bamboo has long served as a metaphor woven into everyday life, passing on cultural knowledge. As a Taiwanese proverb says, “The taller the bamboo grows, the lower it bends,” reminding us that true strength lies in flexibility and humility. In Taoist philosophy, bamboo symbolises resilience: it is deeply rooted yet remains flexible. In Feng Shui, bamboo is believed to bring harmony, positive energy, good luck, and steady growth. From a Buddhist perspective, it can represent simplicity and the strength found in humility. Its hollow interior suggests openness and the ability to let wisdom flow through us.

Each artwork is inspired by the wisdom of bamboo—flexibility, resilience, strength, growth, cooperation, and adaptability. Through bamboo, the artworks seek to offer support and balance, drawing attention to the lessons that nature continues to share with us as we navigate the challenges of contemporary life.

Tamas Szvet (1982) is a Hungarian-born visual artist and educator who has been based in Taiwan since 2019. He studied across Europe and received his Doctor of Liberal Arts degree from the Hungarian University of Fine Arts in 2018. His practice focuses on collaborative, site-responsive public artworks that explore perception, memory, and the relationship between people and places. Working primarily with bamboo, metal, light, and locally sourced materials, he creates immersive environments that aim to expand the visible.

His works often transform local histories, ecological conditions, and community connections into spatial experiences, inviting audiences to engage through movement, observation, and presence. Through public art and land art, Szvet seeks to create meaningful encounters between human experience, natural forces, and the changing character of place, opening a dialogue about coexistence and environmental awareness.

Organizer: One Station of Trans Art

Sponsor: National Culture and Arts Foundation  

Pacific Construction Co., Ltd.

洪安旭攝影

從食物記憶到永續方舟：對話藝站One Station的藝術種原庫 文：許巧郁

     《食物話語的流動-萬一一＆社群》是一場從食物出發、連結社群、土地與永續想像的展覽，而亞蔬-世界蔬菜中心提供的知識與國際種原庫視野，則為這次展覽帶來了研究基礎，並打開了另一種觀看食物的方式。

      這場由藝術家萬一一策劃的展覽於 7 月 4 日在新竹香山車站前的藝站 One Station 開幕，其創作初衷並不是單純將食物作為藝術療癒的美感呈現，而是從個人與香山地方記憶的醃漬與發酵出發，結合社群共創的朝山國小「愛海計畫」、富禮國中「種子投影」與海山社區的「我家菜園」，再加上走訪亞蔬-世界蔬菜中心後帶回的國際糧食知識，將食物從日常餐桌上的滋味，慢慢帶向記憶、文化與永續的未來。

      藝術家與亞蔬-世界蔬菜中心的結緣，始於 6 月 9 日藝站團隊在台南善化的參訪與交流。當天除了聽取中心介紹、討論合作方向，也實地探訪示範園區、研究空間與世界級種原庫，進一步理解他們如何透過種原保存、育種研究與公共溝通，持續推動更健康且具韌性的跨國糧食系統。過程中，亞蔬-世界蔬菜中心表示：「蔬菜是永續糧食系統的核心。富含微量營養素，對免疫健康至關重要，但在全球攝取量仍然嚴重不足。蔬菜生長快速，為農戶創造收入，並促進婦女賦權。透過多樣化生產，強化小農的氣候韌性，使蔬菜成為改善人類與地球健康的重要解方之一。」這些關於蔬菜如何在經濟層面支持婦幼與青年的論述對於長期關注在地飲食、時令蔬菜、永續糧食與生態的藝術家而言，也成了展覽的重要啟發。

      同時，為了呼應亞蔬-世界蔬菜中心以綠豆作為六大救災糧食之一，並強調其快速生長、耐旱、耐貧瘠、也能支持食物供應的特性，此次展場內除了在地蚵農林家牡蠣提供的蚵殼、社區居民菜園的蔬菜，以及香山溼地植物海馬齒外，藝術家也以糧食作物實踐的方式，持續在茶壺裡孵化綠豆芽菜，並嘗試將單顆綠豆種入泥土中，期待它慢慢長出豆莢，讓一顆種子被看見其延展的可能。

      當然，從食物記憶到永續方舟，此次於藝站搭建、為期一個月的「藝術種原庫」並不只聚焦於研究轉譯。展場入口處，出自小說家維吉尼亞．吳爾芙的那串標語：「小說家的慣例之一，就是絕口不提湯啊、鮭魚、鴨子什麼的，彷彿他們都不值得一提。」像是一個溫柔卻尖銳的提醒—日常食物往往被忽略，但那卻正是記憶、情感與文化最細膩的載體。

       

攝影 許巧郁

 

食物話語的流動-萬一一&社群

展期：2026/7/4-8/1

開幕式茶會：7/4(六)，15:00-17:30

地點：藝站 One Station (香山車站前)

新竹市香山區中華路五段347巷2弄1號

https://www.facebook.com/onewetland

創作理念

維吉尼雅·吳爾芙 :

「小說家的慣例之一，就是絕口不提湯啊、鮭魚、鴨子什麼的，彷彿他們都不值一提。」

食物串連了社會與文化

還有無邊的慾望與記憶

香山驛前發現一個密封罐

醃漬的是什麼滋味

95歲的母親已經遺忘

舌尖總是繼續的探索

社區的長輩自己長出菜園

每天以汗水混合五顏六色

夏至的洛葵長得鮮綠茂盛

它就是世界蔬菜中心的救災與韌性蔬菜之一

給大千世界帶來滋味

種子方舟

八年級學子投影感光書寫

將希望寄託於未來

繼續實驗

嚐試消化海馬齒 

讓台灣旱招潮蟹更豐沛

讓味蕾保有永續的感染力

細嚼艾草挑揉的勁味與綠豆餡兒在夏天

散發出有翼葉的柚子葉香氣

蒸籠雲霞中再現曼陀羅

小朋友真的在描繪LOVE SEA

愛海用指尖撥動蚵貝的山水

為無垃圾海洋許願

想像

從蚵田軟泥中拔出踏米鞋

再會海邊夕陽

回到藝站

淺嚐鮮蚵

同時啜飲一口鄰居去年釀的梅酒

舉起杯來 向陳進＆首任區長

乾杯！

關於萬一一

藝站跨藝社負責人

新竹市政府生態保育-香山溼地志工

台灣女性藝術學會榮譽理事長

主辦單位：藝站跨藝社  

組織營運贊助：國藝會    

贊助單位：太平洋建設  

特別感謝：亞蔬-世界蔬菜中心

共創單位：朝山國小、富禮國中、海山社區

《The Flow of Food Discourse-YiYi Wan & Community》

Dates: Jul 4 – Aug 1, 2026

Opening reception: Sat, Jul 4, 15:00-17:30

Venue: One Station (next to Hsinchu Xiangshan Station)

https://www.facebook.com/HsinchuXiangshan

Statement

Virginia Woolf:

“It is part of the novelist’s convention not to mention soup and salmon and ducklings, as if soup and salmon and ducklings were of no importance.”

Food connects society and culture,

And also boundless desires and memories.

A sealed jar was found in front of Xiangshan Station.

What flavor was being preserved?

The 95-year-old mother has forgotten.

The exploration on the tip of the tongue continues.

The elders in the community have grown their own vegetable gardens,

Every day, mixing vibrant colors with their sweat.

The Malabar spinach grows lush and green on the summer solstice;

It is one of the disaster relief and resilience vegetables in the World Vegetable Center.

Bringing flavor to the world.

Seed Ark.

Eighth grade students tramsform seeds into Photogram,

Placing hope in the future,

Continuing the experiment.

Attempting to digest sea purslane 

to increase the abundance of Taiwanese fiddler crab.

Keeping the taste buds perpetually infectious.

Chewing on the chewy texture of mugwort and the mungbean filling in summer,

Brings out the aroma of the winged pomelo leaves.

The mandala reappears in the clouds of the steamer.

Children are really depicting LOVE SEA,

With fingertips touching the oysters and the mountain-stream landscape,

Making a wish for a trash-free ocean.

Imagine

Pulling anti-slip shoes from the soft mud of the oyster farm,

Say goodbye to the sunset by the sea,

Returning to the One Station,

Savoring the fresh oysters,

And sipping a sip of plum wine brewed by a neighbor last year.

Raise your glass to CHEN Chin & the First District Mayor,

And cheers!

About YiYi Wan

Director of One Station 

Volunteer for Ecological Conservation - Xiangshan Wetland, Hsinchu City Government

Honorary Chairperson of the Taiwan Women’s Art Association

Organizer: One Station of Trans Art

Sponsor: National Culture and Arts Foundation  

Pacific Construction Co., Ltd.

Special Thanks: World Vegetable Center, Chao Shan Primary School, FuLi Junior High School, Haishan Community

台灣微急-黃沛森攝影個展

展期：2026/5/23-6/20

開幕式/創作分享會：5/23(六)，14:00-15:30

藝術家：黃沛森

地點：藝站 One Station (香山車站前)

新竹市香山區中華路五段347巷2弄1號

https://www.facebook.com/onewetland

5/23日起，邀請您走入藝站，用藝術家黃沛森的攝影視角，看「小人」如何解救「巨獸」！感受當「台灣有事」不再只是人類之間的事，而是擴及到那些微觀的路殺現場中，待急救的台灣小動物們的聲音與身影時，你是否也願意傾聽。

創作理念

台灣是個生物多樣性豐富的島嶼，然而由於人類活動的擴張，導致野生生物的生存空間受到壓縮，與人類的衝突也日益增加。根據統計，台灣每年有數千萬的動物因路殺而死亡，其中不乏珍稀物種，路殺不僅造成動物的痛苦和死亡，也對人類社會造成經濟損失。

本系列作品以「微觀視角」呈現動物路殺的悲劇，希望喚起大眾對此議題的關注。作品中，動物被放大到畫面中佔據主體位置，小人模型則象徵人類，呈現人類幫動物急救的場景。作品希望讓人們意識到動物路殺問題的嚴重性，並思考如何減少路殺事件的發生。

關於黃沛森

黃沛森1986年生於台中，為台灣攝影創作者，其創作實踐橫跨紀實攝影的精確性與觀念性探問之間。憑藉土木工程與家具設計的跨領域背景，黃沛森的作品深受其對都市移動經驗的觀察所啟發，尤其來自其長時間擔任外送員的親身經驗。

這樣獨特的視角，使他能將街道日常的平凡景象，轉化為帶有社會批判與幽默特質的影像語言。透過影像錯位、微型場景建構等手法，黃沛森重構當代台灣的社會現象，探討政治結構與生態環境之間的摩擦與衝突，並在真實觀察與人為建構之間建立出引人注目的張力。

黃沛森曾獲2023、2024年SKM PHOTO新光三越國際攝影大賽貳獎及參獎、2023年台南攝影上桌Photo Go獎。2025年於1839當代藝廊舉辦個展《台灣微急》，並受邀參與國家攝影文化中心《諸神與眾生》等聯展。

主辦單位：藝站跨藝社  

組織營運贊助：國藝會    

贊助單位：太平洋建設  

《TWAIN EMERGENCY- Huang Pei-Sen  Solo Exhibition》

Dates: May 23 – Jun 20, 2026

Opening reception/Artist talk: Sat, May 23, 14:00-15:30

Artist: Huang Pei-Sen

Venue: One Station (next to Hsinchu Xiangshan Station)

https://www.facebook.com/HsinchuXiangshan

From May 23, join us at One Station! Through Huang Pei-Sen's lens, watch "little people" save "giant beasts." When " Taiwan has an emergency" hits roadkill scenes and small animals cry for help, will you listen too?

Statement

Taiwan is an island rich in biodiversity; however, due to the expansion of human activities, the living spaces of wildlife have been increasingly compressed, leading to heightened conflicts between humans and animals. According to statistics, tens of millions of animals—including rare species—die each year from roadkill. This phenomenon not only causes suffering and death to animals but also results in economic losses to human society.

This series adopts a microscopic perspective to portray the tragedy of wildlife roadkill, aiming to raise public awareness of this critical issue. In the works, animals are enlarged to occupy the central space of the compositions, while miniature human figures symbolize humans, depicting scenes of humans urgently tending to injured animals. The project seeks to alert viewers to the severity of roadkill and encourages reflection on ways to reduce its occurrence.

Huang Pei-Sen 

Born in 1986 in Taichung, Huang Pei-Sen is a photographer whose

creative journey is defined by an intersection of technical rigor and

urban exploration. With a foundational background in civil

engineering and furniture design, Huang draws inspiration from the

rhythms of the city, viewed through the lens of his long-term work as a

delivery rider.

This "on-the-road" perspective enables him to reframe everyday urban

scenes as poignant sites of social commentary and humor. Through

visual dislocation and the crafting of miniature dioramas, he explores

the collisions between contemporary Taiwanese politics and the

natural world. Huang's images serve as a bridge between reality and

artifice, capturing the inherent tensions of the modern landscape.

Huang Pei-Sen has received Second Prize and Third Prize at the SKM PHOTO Shin Kong Mitsukoshi International Photography Competition in 2023 and 2024, as well as the Photo Go Award at the 2023 Tainan Photo Go. In 2025, he held his solo exhibition Taiwan Little Emergency at the 1839 Contemporary Gallery, and was invited to participate in group exhibitions including Gods and All Sentient Beings at the National Center of Photography and Images.

Organizer: One Station of Transdisciplinary Art

Sponsor: National Culture and Arts Foundation  

Pacific Construction Co., Ltd.

山目藝術影像提供

省思-王鼎元個展

展期：2026/4/19-5/10

開幕導覽＋茶會：2026/4/19(日)，14:00～

地點：藝站 One Station (香山車站前)

新竹市香山區中華路五段347巷2弄1號

https://www.facebook.com/onewetland

身為人，你能否感同身受動物之痛？

4月19日，就讓我們一同跟隨藝站新檔期藝術家—王鼎元的細膩鏡頭語言，批判而哲理地省思關於台灣動物園圈養的真情實景。

創作理念

王鼎元攝影個展以動物平權為核心，透過其影像與深刻編排，喚起觀者對自然永續與生命尊重的深層反思。此展匯聚藝術家王鼎元多年創作歷程精華，完整呈現《台灣愛丁堡動物園計劃》系列作品，以批判性與哲思交織的視角，回應當代社會對動物圈養與環境永續的議題。王鼎元以攝影為媒介，融合個人生命經驗與國際動物平權理念，構築出一場視覺與心靈的對話。

展覽靈感源自英國愛丁堡動物園「不圈養大象」的行動。該園以雕像取代真象，並公開說明無法提供大象所需的自然遷徙環境，因此選擇不再圈養。這種「負圈養」的理念深深觸動王鼎元，使他開始思索臺灣動物園的現況與人類對動物的態度。他走訪全臺動物園，拍攝園舍空間與光影，再以模型動物進行後製，創造出真假交錯的超現實影像，讓觀者在熟悉與陌生之間產生省思。

王鼎元的創作並非一蹴可幾。早期作品如《你眼中所見之處是我心中僅剩的藍》與《黑洞》系列，即展現他對圈養動物心理狀態的關注。他以冷色調與重複行為的捕捉，揭示動物在牢籠中所承受的孤寂與精神壓迫。這些作品不僅是視覺呈現，更是情感與倫理的訴求，直指人類對動物的無形暴力。

關於王鼎元

1978年生於台北，畢業於國立臺灣藝術大學美術學系碩士。長年致力於攝影藝術創作與教學，現任亞東科技大學兼任講師，並於中山女高等多所高中與大專院校擔任攝影課程講師及社團指導老師，積極推動影像教育。其創作關注人像、日常觀察與影像敘事，代表系列《臉上的光彩》、《台灣愛丁堡計劃》廣受關注。

曾於國家攝影文化中心、國立臺灣藝術大學友章藝術博物館、松山文創園區、華山藝文中心等地展出，亦多次參與國內外重要攝影聯展。作品屢獲國際獎項肯定，包括美國IPA國際攝影比賽多項榮譽、台北藝術攝影博覽會TIVCA攝影獎首獎等。持續於創作與教學之間深化影像實踐。

主辦單位：藝站跨藝社  

組織營運贊助：國藝會    

贊助單位：太平洋建設  

"Reflection"- WANG Ding-Yuan Solo Exhibition

Dates: Sun 19 Apr - 10 May 2026

Opening Reception: Sun 19 Apr, 14:00~

Artist: WANG Ding-Yuan

Venue: One Station (next to Hsinchu Xiangshan Station)

https://www.facebook.com/HsinchuXiangshan

Can You, as Human, Feel the Animal's Pain?

Join us on April 19 for the opening of One Station's new artist program featuring WANG Ding-Yuan. Through his exquisitely nuanced lens, witness a profound, critical, and philosophical meditation on the stark realities of animal captivity in Taiwan's zoos.

Statement

WANG Ding-Yuan’s photographic exhibitions center on animal rights, using carefully constructed imagery to evoke deeper reflection on environmental sustainability and respect for life. This exhibition brings together years of Wang’s artistic practice and presents The Taiwan Edinburgh Zoo Project series, which responds to contemporary issues of animal captivity and environmental sustainability through a critical and philosophical perspective. Using photography as his medium, Wang combines personal life experiences with international animal rights concepts to construct a dialogue between visual imagery and the human mind.

The exhibition was inspired by the Edinburgh Zoo in the UK, which chose not to keep elephants in captivity. The zoo replaced real elephants with sculptures and publicly explained that they could not provide the natural migratory environment elephants require, therefore choosing not to keep them. This concept of “negative captivity” deeply influenced Wang and led him to reflect on the situation of zoos in Taiwan and human attitudes toward animals. He visited zoos across Taiwan, photographing animal enclosures and spatial lighting, then digitally added model animals in post-production to create surreal images that blur the line between reality and fiction, prompting viewers to reflect through a sense of familiarity and estrangement.

Wang’s artistic development did not happen overnight. Earlier works such as The Blue That Remains in My Heart Is What You See and the Black Hole series already demonstrated his concern for the psychological state of captive animals. Through cool color tones and the capture of repetitive behaviors, he revealed the loneliness and psychological oppression animals endure in captivity. These works are not only visual representations but also emotional and ethical statements addressing the invisible violence humans impose on animals.

About WANG Ding-Yuan 

Born in Taipei in 1978, WANG Ding-Yuan received his M.F.A. from the Department of Fine Arts at National Taiwan University of Arts. He has long been dedicated to photographic art creation and education. He currently serves as an adjunct lecturer at Oriental Institute of Technology and teaches photography courses and advises photography clubs at several high schools and universities, including Taipei Municipal Zhongshan Girls High School, actively promoting visual and photography education. His work focuses on portraiture, everyday observation, and photographic narrative. His representative series The Glow on the Face and The Taiwan Edinburgh Zoo Project have received wide attention.

His works have been exhibited at the National Center of Photography and Images, You Zhang Art Museum of National Taiwan University of Arts, Songshan Cultural and Creative Park, Huashan 1914 Creative Park, and other venues. He has also participated in numerous important domestic and international exhibitions. His works have received multiple international awards, including several honors from the International Photography Awards (IPA) and the First Prize of the TIVCA Photography Award at the Taipei Art Photo Show. He continues to deepen his photographic practice through both artistic creation and teaching.

Organizer: One Station of Transdisciplinary Art

Sponsor: National Culture and Arts Foundation  

Pacific Construction Co., Ltd.

TWiN FLOWERS 徐乙白個展

展期：2026/3/8-4/5

開幕導覽＋茶會：3/8(日)，14:00-15:00

藝術家不凋花畫工作坊：3/8(日)，15:00-16:30

地點：藝站 One Station (香山車站前)

新竹市香山區中華路五段347巷2弄1號

https://www.facebook.com/onewetland

2026年3月8日國際婦女節，藝站新檔期的展覽榮幸邀請到藝術家徐乙白以繪畫作品、紙漿雕塑與不凋花手作，為空間帶來女性美麗而多面向的堅定力量。

創作理念

“Twin flowers”意為雙生之花——花開兩朵，同根並蒂，是從創作者乙白心中開出的一朵秘密之花。

黑暗與光明，本就是人心永恆的命題，而每一次起手創作，都是創作者的一次人格整合，是一次重生之旅。

本次創作過程以榮格的「個體化」 Individuation 為主軸，將內心整合的過程以創作轉化為實體。兩個作品系列《黃花/Yellow blooming》、《食人花/Piranha flower》作為鮮明對比，將同時展現女性內心的雙面性——我們凝視黑暗，跨越深淵，以尋求永恆的光。

乙白希望用創作這種極致的私體驗，邀請觀者，傾聽自己內心最隱密的召喚，進入一個不存在於現世的空間。就像緩緩走入一朵盛開的花朵——直到進入最深邃的花心。

在那裡，你將盡情汲取黑暗的花蜜，並在心中轉化成屬於自己的甜美能量。

關於徐乙白

生於1986年，畢業於台灣藝術大學，2021年展開藝術創作之路，現為台灣女性藝術協會會員。創作方式涵蓋數位繪圖、壓克力繪畫與紙漿裝置藝術，致力於以更具溫度與存在感的創作媒介，喚起觀者潛藏於日常心智表層之下的深層意識共鳴。

乙白希望能讓自己的創作成為跨越夢幻與現實之間的媒介，讓觀看者能夠在任何時刻打開一扇走出當下的心之門，讓靈魂暫時得以自由。

其作品曾展出於2024基隆太平山城藝棧《小小的夜遊》個展、2021台北illuBase 插畫人基地《Rebirth‧重生》個展、2025台灣女性藝術協會聯展《台灣當代女性藝術風華聯展》、2024 中正紀念堂《她的藝想世界—新媒體跨域展》、2023 松山文創園區SS24台北時裝週《她的藝術時尚》聯展、台北2022台北插畫藝術節聯展…等。

主辦單位：藝站跨藝社  

組織營運贊助：國藝會    

贊助單位：太平洋建設  

TWIN FLOWERS- I Pai Hsu Solo Exhibition

Dates: Sun 8 Mar - 5 Apr 2026

Opening Reception: Sun 8 Mar, 14:00-15:00

Workshop: Sun 8 Mar, 15:00-16:30

Artist: I Pai Hsu

Venue: One Station (next to Hsinchu Xiangshan Station)

https://www.facebook.com/HsinchuXiangshan

On International Women's Day, March 8, 2026, One Station's new exhibition season proudly invites artist I Pai Hsu—with her paintings, sculptural installations, and undying flower crafts—to infuse the space with a beautiful, empowering feminine strength and resolve.

TWIN FLOWERS Exhibition Statement

Twin Flowers refers to a pair of blossoms born from the same root — two flowers blooming side by side from a single stem. This is a secret flower that has emerged from the inner world of the artist, Yi Bai.

Darkness and light have always been eternal themes of the human psyche. Each act of creation marks a moment of inner integration — a journey of rebirth.

This body of work is rooted in Carl Jung’s concept of Individuation. Through painting and sculptural installation, the artist transforms the process of psychological integration into tangible form. The two series — Yellow Blooming and Piranha Flower — stand in deliberate contrast, revealing the duality within the feminine psyche. We confront darkness, cross the abyss, and search for enduring light.

Through this intensely personal act of creation, I Pai invites viewers to listen to their own most hidden calling, and to enter a space that does not belong to the visible world. It is like slowly stepping into a fully blossomed flower — moving inward, petal by petal, until reaching its deepest core.

There, you are invited to draw from the nectar of darkness — and allow it to transform within you into a sweetness of your own.

About I Pai Hsu

I Pai Hsu, born in 1986 and a graduate of the National Taiwan University of Arts, began her artistic journey in 2021. She is currently a member of the Taiwan Women’s Art Association. Her work spans digital illustration, acrylic painting, and papier-mâché installations. Through warm, tangible mediums, she seeks to evoke resonance within the viewer’s subconscious—beyond the surface of everyday perception.

I Pai Hsu hopes her work becomes a bridge spanning dream and reality—a gateway allowing viewers to fling open a door in their hearts at any moment, stepping beyond the present to let their souls roam free, if only for a time.

Her works have been exhibited in: 2024 Keelung Taipingshan Cheng Yi Zhan A Little Night Walk solo exhibition; 2021 Taipei illuBase Illustration Hub Rebirth solo exhibition; 2025 Taiwan Women’s Art Association The Radiance of Contemporary Taiwanese Women’s Art group exhibition; 2024 Chiang Kai-shek Memorial Hall Her Imaginary World—New Media Cross-Disciplinary Exhibition; 2023 Songshan Cultural and Creative Park SS24 Taipei Fashion Week Her Art & Fashion group exhibition; 2022 Taipei Illustration Art Festival group exhibition, and more.

Organizer: One Station of Transdisciplinary Art

Sponsor: National Culture and Arts Foundation  

Pacific Construction Co., Ltd.

《出神變-張士飛 陳伯義雙個展》

展期：2026/1/24-2/21

開幕座談會：1/24(六)，15:00-17:00

與談人：黃建亮、馬立群

藝術家：陳伯義、張士飛 

地點：藝站 One Station (香山車站前)

新竹市香山區中華路五段347巷2弄1號

https://www.facebook.com/onewetland

2026年藝站的首檔展覽，榮幸邀請到攝影家陳伯義及張士飛共譜台灣民俗中的「乩」、「靈」與祭儀信仰。「雙鏡頭、雙個展」，陳伯義與張士飛捕捉那些充滿神性、原始而野生的光影、行為和場景，向觀者展示人與神與靈之間的特殊敘事。

出神 創作理念/張士飛

原始祭儀、獻祭的生靈、祈求的人類甚至是野台戲與焚燒的金紙，無論在多麼現代化的當下，它們如何被包裹在進步的糖衣裡，都無法抹除那股原始又野生的混沌感。這種混沌感讓我感受到一種“裂縫”-----超越時間與空間的呼喚，並深深著迷於此。

試圖以不經意的光影、行為或場景，製造“一個超越現實的通道”。

而這樣的通道，也期許能讓我找到一個與自己精神世界相符的生死觀、宇宙觀。

關於張士飛

1982生於台南，畢業於台北實踐大學室內空間設計學系。

專長為公共藝術執行製作與現場協調。

目前為專職木雕創作、自由攝影創作。

木雕作品曾參與「2023三義國際木雕藝術交流展」三義木雕博物館，並於2025 舉辦首次木雕個展「我從遠方走向自己」台北秋刀魚畫廊。

攝影作品曾先後參與2018與2024台南國際攝影節展出。

並於2021獲得台南攝影節 攝影上桌 PHOTOGO獎。

神變 創作理念/陳伯義

關於「神變」這組作品是台灣民俗信仰習俗中的「乩」，是透過神靈附體、神通、問事、治病、驅邪的靈媒，是神人之間的溝通角色，在廟會中出現，以起乩與扶乩等形式來為神靈代言。神變就捕捉人性變成神性的轉化過程，有身體性、符號性、物件性和空間場域…等特質，而我透過鏡頭捕捉這些異化的瞬間，來展現精神昇華的狀態。

關於陳伯義

1972年生於台灣嘉義，2018年成功大學水利及海洋工程研究所博士。

曾參加2016年「傾圮的明日」在歐洲攝影之家、2018年「告訴我一個故事：地方性與敘事」在義大利的山德雷托·雷·雷包登戈基金會、2022年「麻豆大地藝術季」在總爺藝術中心與2024奧地利維也納的奧地利銀行藝術論壇美術館..等展覽。

從事過攝影教學及策展等工作，是臺南國際攝影節策展人，專長為攝影及海洋工程，作品曾被台灣美術館、高雄市立美術館、日本清里攝影美術館及歐洲攝影之家典藏，「紅毛港遷村實錄－家」入圍2015台新藝術獎。

主辦單位：藝站跨藝社  

組織營運贊助：國藝會    

贊助單位：太平洋建設  

Spellbound x The Exorcist -Chang Shih-Fei & Chen Po-I Dual Exhibition

Dates: Sat 24 Jan - Sat 21 Feb 2026 

Sat 24 Jan, 15:00-17:00

Opening & Forum: 

Albert Huang, Ma Li-Chun, Chen Po-I, Chang Shih-Fei

Venue: One Station (next to Hsinchu Xiangshan Station)

https://www.facebook.com/HsinchuXiangshan

The inaugural exhibition at One Station in 2026 proudly presents photographers Chen Po-Yi and Chang Shih-Fei, who together illuminate Taiwan's folk rituals of tji (trance mediums), ling (spiritual forces), and ceremonial faith. "Dual Lenses, Dual Solos," they capture divine, primal, and untamed instants of light, gesture, and ritual space, unveiling the profound narratives linking humanity, deities, and spirits.

Spellbound  by Chang Shih-Fei

Primitive rituals, the sacrificed souls, the yearning of humanity, and even the open-air stages and the burning of joss paper—no matter how they are cloaked in the "sugar-coated" guise of modern progress, that primal, wild sense of chaos remains indelible.

This chaos reveals to me a "fissure"—a beckoning that transcends time and space—one that I find deeply haunting and transfixing.

Through the orchestration of inadvertent light, shadow, gestures, and scenes, I seek to construct "a conduit beyond reality." It is through such a conduit that I hope to reconcile a philosophy of life, death, and the cosmos that resonates with my inner spiritual landscape.

The Exorcist  by Chen, Po-I

The work "The Exorcist" embodies the "medium" prevalent in Taiwanese folk beliefs and customs. It serves as a conduit for communication between the divine and the human, facilitating processes such as possession, supernatural powers, seeking guidance, medical mediumship, and exorcism. This role is often manifested in temple festivals through practices like trance (起乩) and sciomancy (扶乩), acting as a spokesperson for the deities. The essence of "The Exorcist" captures the transformation of human nature into divinity, characterized by physicality, symbolism, objecthood, and spatial contexts. I utilize the lens to capture these moments of alienation, thereby revealing the state of spiritual transcendence.

Chang Shih-Fei

Born in 1982 in Tainan, Taiwan, Chang Shih-Fei graduated from Shih Chien University with a degree in Interior Design. He is a specialist in public art production and site coordination.

Currently, he is a full-time wood sculptor and freelance photographer.

His wood carvings were featured in the 2023 Sanyi International Wood Sculpture Art Exhibition. In 2025, he held his first solo exhibition, "Walking Toward Myself from Afar," at Fish Art Center, Taipei.

His photography was showcased at the Tainan International Photography Festival (2018, 2024), and he received the PHOTOGO Award in 2021.

Chen Po-I

Born in 1972 in Chiayi, Chen Po-I received his PhD degree in Ocean Engineering at National Cheng Kung University (NCKU) in Taiwan (2018). As a photographer, Chen’s works concern the humanities and social aspects of Taiwan, using his lens to connect himself with the greater context of Taiwanese society. With this, his photographs have the power to express the collective memories of Taiwan. His photographic works are frequently invited for exhibitions, recently include Lendemain Chagrin (Maison Européenne de la Photographie, 2016), Tell Me a Story: Locality and Narrative (Fondazione Sandretto Re Rebaudengo, Italy, 2018), Mattauw Earth Triennial  (Tsung-Yeh Arts and Cultural Center, 2022) and Tayouan: Homeland of Hybridity (Bank Austria Kunstforum Wien,2024). 

At this moment, Chen is actively engaged in the photography education and also works as a curator of Tainan International Foto Festival.  Some of his photographic works now become the permanent collection at National Taiwan Museum of Fine Arts (Taiwan), Museum of Fine Arts, Kaohsiung (Taiwan), Kiyosato Museum of Photographic Arts (Japan), Maison Européenne de la Photographie  (France) and are also collected by private collectors. Records of the Relocation of Hongmaogang Village-Chen Po-I Solo Exhibition is shortlisted for the 13th Taishin Art Award.

Organizer: One Station of Transdisciplinary Art

Sponsor: National Culture and Arts Foundation  

Pacific Construction Co., Ltd.

另類視野-宋佳璐 Other Views-Gabrielle Scarpa

展期：2025/12/6-12/27

開幕座談會：12/6(六)，14:00-16:00

與談人：宋佳璐、黃建亮、萬一一

地點：藝站 One Station (香山車站前)

新竹市香山區中華路五段347巷2弄1號

https://www.facebook.com/HsinchuXiangshan

創作理念

過去，我主要拍攝美國中⻄部與⻄部的廣闊地景，一直關注人類居住環境與土地之間的關係。如今在台灣生活超過四年後，我開始記錄台灣的市景，主要聚焦於台北與台南。缺乏開闊地景的情況下，我的鏡頭轉向構成台灣城市的鐵皮、帆布與水泥層層堆疊的結構——那些擁擠的景象，時常被金屬或塑膠板局部遮蔽，如同一張戴著口罩的臉。最初，我被這種都市景觀的陌生感所吸引; 如今，我希望以鏡頭紀錄台灣的人造環境，提供一個既非理想化也非批判性的觀察視角，邀請觀者停下腳步，思考我們對所居之地的複雜影響。 

宋佳璐

是美國自由譯者與藝術家。2018 年畢業於耶魯大學後，曾赴中國安徽省的非政府組織工作，隨後於台南任教並學習中文三年。現居台北，就讀國立臺灣師範大學翻譯研究所碩士班。

主辦單位：藝站跨藝社  

組織營運贊助：國藝會    

贊助單位：太平洋建設  

Other Views-Gabrielle Scarpa  

Dates: Sat 7 Dec - Sat 27 Dec 2025 

Sat 7 Dec, 2pm-4pm

Opening & Artist Talk: 

Gabrielle Scarpa, Albert Huang, YiYi Wan

Venue: One Station (next to Hsinchu Xiangshan Station)

https://www.facebook.com/onewetland

Statement 

Previously photographing the vast landscapes of the American Midwest and West, I’ve always been interested in documenting the places we live and our impact on the land. Now, after more than four years in Taiwan, I’ve begun to document Taiwan’s urban landscapes, primarily those of Taipei and Tainan. In the absence of open landscapes, I’ve shifted my lens toward the dense layers of tin, tarp, and concrete that make up Taiwanese cities, where cramped vistas sit partially obscured behind sheets of metal or plastic, like a face behind a mask. Initially intrigued by the unfamiliarly of the urban landscape, I now seek to document Taiwan’s man-made environments, providing a vantage point that is neither idealistic nor damning but instead urges viewers to pause and consider our complex impact on the spaces we call home. 

Gabrielle Scarpa

is an American freelance translator and artist. After graduating from Yale University in 2018, Gabrielle worked for an NGO in Anhui Province, then spent three years in Tainan teaching English and studying Chinese. She currently lives in Taipei and is completing her master’s degree at NTNU’s Graduate Institute of Translation and Interpretation. 

Organizer: One Station of Transdisciplinary Art

Sponsor: National Culture and Arts Foundation  

Pacific Construction Co., Ltd. 

許巧郁攝影

2025 香山肖像·群像-Hubert KILIAN/余白

展期：2025/10/9-11/9

開幕講座：10/12(日)，15:00-17:00 @藝站

展場：香山溼地海保中心、藝站 One Station

https://www.facebook.com/share/p/1Arn1iPjmm/

這是一場關於人的凝視，也是一面映照香山的鏡子。

三十餘幅人像，記錄了生活在香山的居民-他們在自己的空間裡，被靜靜地看見。

有的坐在客廳裡，有的在工作之間，偶爾空間本身成為主角，述說著人的缺席。

這個計畫以一個恆定的拍攝方式展開。

相同的框架，如同一條溫柔的界線，讓每一張影像在秩序中展現差異。

一張張臉孔與空間並置，如呼吸與回聲--

人與居所彼此映照，空間說話，物件低語，空白之處同樣有聲。

這並非單純的人像系列。

它是一種觀看的練習，一次對「居住」與「存在」的描繪。

每一個空間、每一張臉，都屬於這片土地的紋理。

它們共同織出一幅屬於台灣的群像，一種溫柔而真實的社會圖景。

《香山的人們》凝結下2025年台灣的日常—

那些願意被拍下的人們，在自己的世界裡，沒有佈景，也沒有偽裝。

只有真實的光，與當下的誠實。

這是一份關於「存在」的文件，也是一首寫給這座島嶼的詩。

主辦單位：新竹市政府

策展單位：擷果創意 Harvest Ideation

策展人：林長叡Ryan LIN

藝站空間組織營運贊助：國藝會、贊助單位：太平洋建設

“2025 Xiangshan Portraits · Faces”

This is an exhibition about the gaze upon people — and a mirror reflecting Xiangshan itself.

More than thirty portraits record the residents who live in Xiangshan — seen quietly within their own spaces.

Some sit in their living rooms, others are captured between moments of work.

At times, the space itself becomes the protagonist, speaking of human absence.

The project unfolds through a steady, consistent method of photographing.

The same frame, like a gentle boundary, allows each image to reveal its differences within order.

Each face, each space — placed side by side — breathes like echo and response.

People and their dwellings mirror one another; spaces speak, objects whisper, and even the empty areas carry sound.

This is not merely a series of portraits.

It is an exercise in seeing — a depiction of “dwelling” and “being.”

Every space, every face, belongs to the texture of this land.

Together, they weave a collective portrait of Taiwan — a tender yet truthful image of society.

“2025 Xiangshan Portraits · Faces” captures the everyday life of Taiwan in 2025 —

those who chose to be photographed, within their own worlds, without staging, without disguise.

Only the truth of light, and the honesty of the present moment.

It is a document of existence — and a poem dedicated to this island.

我們在蟹洞吞吐的呢喃成了潮聲-香山聲景

展期：2025/10/9-11/9

開幕講座：10/12(日)，13:00-14:30 

策展人：彭江翔

藝術家：謝奉珍、江岳霖   

聲音採集工作坊: 8/24(日): 14:30-16:30，講師：謝奉珍

工作坊參與人：李佳姸、李桂瑩、林淑惠、陳穗連、蔡宜儒

地點：藝站 One Station(香山車站前)

新竹市香山區中華路五段347巷2弄1號

https://www.facebook.com/HsinchuXiangshan

策展理念

聲景(Soundscape)的概念類似於肉眼所見即所得的地景，原本意旨由個體周遭各式聲音所構成的整體範圍，聲景生態學之父R・莫瑞・薛佛在早期對聲景概念的發展中，較為注重人可以如何重新訓練聽覺，去完整感知聲「景」的全面性。隨著近代聲景生態學發展的完備與科技的進步，聲景不再只侷限於個人經驗，而可能透過錄音與藝術家的再造詮釋，擴張我們對環境與生態的想像。

<我們在蟹洞吞吐的呢喃成了潮聲>試圖由聲景再造的概念出發，以新竹香山一帶為基地發展計畫，作為台灣重要的濕地保留區，香山擁有豐富而多樣的聲音，其中許多，例如水下環境的聲響，並不容易在我們的日常生活經驗中以感官輕易感知，但在水下麥克風等器具的輔助下，得以被捕捉再現。由藝術家謝奉珍所主持的工作坊，帶領學員操作器具，一同採集新竹香山濕地賞蟹步道一帶的聲音，深入尋覓周遭聲景。

展場內，由藝術家江岳霖所設計的，受新竹海景啟發的聲響音樂則在場中播放著，觀眾可以掃描牆上QR Code，以手機播放工作坊所採集的聲響，與聲響音樂疊加互動，在空間中即時性的重塑對香山新的印象，期望以聲音為基礎，找出一個全新且獨特的方式來重新認識香山，透過聽覺感受這片土地的生命力。

策展人簡歷

彭江翔　

1997年生，倫敦藝術大學策展碩士，現主要關注生態與藝術間的可能性，思考如何重塑園藝的概念成為藝術行為，並以高度人工介入的園藝行為提供人們空間反思自然概念。

藝術家簡歷

謝奉珍　

是一位以聲音為主要創作媒材的藝術家。參與現場表演、聲音裝置、聲音影像間的關係實驗、田野錄音等，目前關注方向為人－人－環境－時空間的相互牽連變化上。她大部分的聲音裝置作品為限地製作，從2012年開始發表〈空間刺探機〉系列聲音裝置作品創作計畫，以不同的展覽空間特性為聲音創作的概念。在聲音表演上，她會透過日常的聲音採集，組合成不同的聲音片段，在現場表演時會依據現場的氣氛運用聲音的表現來做回應，並嘗試與觀眾互動。她也常與國內外不同的表演者進行合作交流。

1987生於台灣高雄    目前於新竹居住/工作

2014畢業於國立台南藝術大學造形藝術研究所/台南/台灣

2009畢業於國立高雄師範大學美術學系/高雄/台灣

江岳霖  

新銳配樂與臥房製作人

曾參與多部學生電影配樂製作，有別於影像先於音樂的配樂歷程，個人創作著重於人的深層情緒，透過音樂與聲音，探索並創造多面向的精神狀態。

音樂風格上受古典樂、IDM、techno、breakbeat、jungle、ambient、噪音影響，希望能在電子音樂的抽象性中找出人性的一面。

主辦單位：藝站跨藝社  

組織營運贊助：國藝會    

贊助單位：太平洋建設  

The Whispers We Exhale in Crab Holes Become the Tide-

Xiangshan Soundscape 

Dates: Thu 9 Oct - Sun 9 Nov 2025 

Sun 12 Oct, 1pm-2:30pm

Opening & Artist Talk: 

Curator: PENG Chiang Hsiang

Artist: HSIEH Feng Chen, Mason Chiang

Sun 24 Aug, 2:30pm-4:30pm

Workshop: HSIEH Feng Chen

Venue: One Station (next to Hsinchu Xiangshan Station)

Gallery Hours: Mon, Thu-Sun 10am-6pm

https://www.facebook.com/onewetland

Statement:

The concept of Soundscape, akin to the visible landscape, originally refers to the entire range of sounds surrounding an individual. R. Murray Schafer, the father of acoustic ecology, in his early development of the soundscape concept, focused more on how humans could retrain their hearing to fully perceive the comprehensive nature of the sound "scape." With the maturation of acoustic ecology and advancements in technology in modern times, soundscapes are no longer limited to individual experiences but can expand our imagination of the environment and ecology through recording and artistic reinterpretation.

The Whispers We Exhale in Crab Holes Become the Tide attempts to depart from the concept of soundscape re-creation, developing a project based in the Xiangshan area of Hsinchu. As an important wetland reserve in Taiwan, Xiangshan possesses rich and diverse sounds, many of which, such as the underwater environment, are not easily perceived by our senses in daily life. However, with the aid of tools like underwater microphones, they can be captured and reproduced. The workshop, led by artist Hsieh Feng Chen, guides participants in operating equipment to collectively collect sounds from the Xiangshan Wetland Crab-watching Trail in Hsinchu, delving deep into the surrounding soundscape.

Inside the exhibition venue, sound art inspired by Hsinchu's seascape, designed by artist Mason Chiang, is played. Visitors can scan QR codes on the wall to play the sounds collected from the workshop on their mobile phones, interacting with and layering them onto the sound art. This instantaneously reshapes a new impression of Xiangshan within the space, hoping to find a brand new and unique way to re-understand Xiangshan based on sound, and to perceive the vitality of this land through auditory senses. 

Curator: PENG Chiang Hsiang

Born in 1997, Hsiang holds a Master's in Curating from the University of the Arts London. Currently focuses on the possibilities between ecology and art, contemplating how to reshape the concept of horticulture into an artistic act, and using horticultural practices, which are highly artificial activities, to provide people with space to reflect on the concept of nature.

Artist: HSIEH Feng Chen 

Most of her works were shown in the medium of sound. She has taken parts in live performances, sound installations, experiment with the relationship between sound and visual, and field recordings, etc. Now she is concerning about the relationship between person-person-environment-time and site. Most of her sound installation works were shown by site-specific. Since 2012, she has published the "Space Spy Machine" series of sound installation project, using different exhibition space characteristics as the concept of her sound creation. During the live performance, she uses field recordings gathered from everyday lives to form various sound sections, and performs and responds to the atmosphere of the live events. She has also tried to interact with audience members, and often works with other performers from Taiwan and elsewhere. 

1987 Born in Kaohsiung   work and live in Hsinchu, Taiwan

2014 Graduated from “Graduate Institute of Plastic Arts”, Tainan National University of The Arts (TNNUA), Tainan, Taiwan

2009 Graduated from “Department of Fine Art”, National Kaohsiung Normal University (NKNU), Kaohsiung

Artist: Mason Chiang

Emerging Composer and Bedroom Producer

Mason has contributed to the scores of several student films. Diverging from the traditional scoring process where visuals precede the music, Mason's personal work focuses deeply on profound human emotions, utilizing music and sound to explore and create multifaceted spiritual states.

In terms of musical style, Mason is influenced by classical music, IDM, techno, breakbeat, jungle, ambient, and noise. The core aspiration is to find the human element within the abstraction of electronic music.

 

Organizer: One Station of Transdisciplinary Art

Sponsor: National Culture and Arts Foundation  

Pacific Construction Co., Ltd. 

 

回家的路-王秀茹個展

時間：2025/9/6-9/27

藝術家工作坊：9/7(日)，13:30-15:00

開幕式：15:30~ 藝術家致贈畫作-那魯灣部落頭目代表接受

地點：藝站 One Station (香山車站前)

新竹市香山區中華路五段347巷2弄1號

https://www.facebook.com/HsinchuXiangshan

創作理念

百年來，台灣這塊島上的原住民因為政治、經濟、戰爭、自然災害、資源短缺、生存等各種因素，產生個人、家族、族群的志願或非志願的島內遷徙。從遷徙到定著，有定著後和其他族群的「涵化」、對「原生」的渴望、「復返」的期待與想像，還有「都市離散者與部落在地者」的連結，錯綜而複雜的關係與相互交疊的面向，過程中產生了多迴路的非單一性的返家路徑，這路徑是具體的空間性，也是返回母體文化的無形路徑。

王秀茹

學歷

2003藝術碩士(MFA)  國立高雄師範大學-美術系研究所

2000美勞教育學士(BA in Art Education)  屏東師範學院-美勞教育學系

現職 專職藝術家(2000~迄今)

工作經歷 (2003.7~2025) 

中原大學設計學士原住民專班兼任講師（2011-2023）

朝陽科技大學視覺傳達設計系兼任講師（2019-2023）

國語日報週刊「藝術就在你身邊」專欄作家(2006-2008)

新樂園藝術空間/藝術行政(2005-2006)

鹿港高中/實習教師(2003-2004)

相關證照

中等學校美術科教師證 中字第9302684號

講師證書 （講字第110992）

專業經歷 

2003-2004行政院文建會鐵道藝術網路台中站-二十號倉庫第四屆駐站藝術家/台中/台灣

2004-2004法國巴黎國際藝術村(Cité internationale des arts)工作室進駐藝術家/巴黎/法國

2011行政院文建會鐵道藝術網路台中站-二十號倉庫第十一屆駐站藝術家/台中/台灣

2017花蓮cepo'者播藝術中心駐村/花蓮/台灣

2019 斜坡藝術村駐村/屏東/台灣

2020 斜坡藝術村駐村/屏東/台灣

2021 斜坡藝術村駐村/屏東/台灣

2022 交會地方藝駐共創駐地計畫/台東/台灣

獲獎

2003「動物體內的動物-匿名原魔」個展獲國家文藝基金會展覽補助

2002 第19屆高雄市民美展「佳作」/高雄市立美術館/高雄/台灣

2001 第18屆高雄市民美展「入選」/高雄市立美術館/高雄/台灣 

典藏

屏東師範學院典藏、私人典藏

個展

2022 退潮之禮/台東成功鎮原住民文物館/台灣

2020 沈默的風景Between us/高雄鹽埕黑白切/台灣

2018 我的腳是寫詩的隊伍/台中Z書房/台灣

2012 從眼睛穿越邊境-王秀茹個展/新竹教育大學藝術空間/台灣

2011 窺視之眼-王秀茹個展/朝陽科技大學設計禮堂藝廊/台灣

2010 祕密花園-王秀茹個展/高雄新濱碼頭/台灣

2008 王秀茹個展/台北新樂園藝術空間/台灣

2008 王秀茹、陳松志同名個展/台北新樂園藝術空間/台灣

2005《豌豆．毒藥．魚．— 寓言的拋物線 》/巴黎國際藝術村/法國

2003「動物體內的動物-匿名原魔」王秀茹個展/台北鳳甲美術館/台灣

2003「開眼.開心」王秀茹個展/台北台新銀行 營業部財富管理銀行/台灣

2003「變形記」王秀茹個展/台南原型藝術空間/台灣

2000「2000意象空間」王秀茹創作個展/屏東縣立文化局/台灣

聯展

2024 移居城市一朋友你從哪裡來 /桃園兒童美術館八德館/台灣

2023 文博會《臍帶之地-與山的生活》/台北華山/台灣

2023那是因為水墨還活著的緣故/澎湖洪根深美術館/台灣

2022《尋找 Kipakim 》斜坡上的藝術村藝術家創作聯展地點/屏東原住民族文化園區八角樓特展館/屏東

2022 台灣雙年展-問世間情不為何物/台中 國立台灣美術館/台灣

2021 臍帶之地-森川里海藝術創生展/板橋有章藝術博物館/台灣

2021 本草城市：以淺山海作為方法/新竹241藝術空間/台灣

2021 混・遊記/台南崑山科技大學創媒藝廊/台灣

2021 東海岸志工共享平台暨臍帶之地原稿手繪地圖聯展/新竹市或者文史書房

2021 直徑30km 生活圈/彰化instant/台灣

2020 根植-跟著老人家的手/花蓮文化創意產業園區/台灣

2020 qadjai連結線/屏東里納禮斜坡上的藝術村/台灣

2020 森川里海藝術創生基地計畫/花蓮縣豐濱鄉/台灣

2019「Djekap • 印記」/駐村藝術家聯展/屏東里納禮斜坡上的藝術村/台灣

2018 森川里海濕地藝術季/花蓮豐濱鄉/台灣

2018「回顧與展望—解構.再生」/台中20號倉庫/台灣

2014 春風化雨林源全師生聯展/台中財團法人台灣文化會館基金會/台灣

2012 各自的旅程/台中Z書房/台灣

2011 一步-第十一屆駐站藝術家期末聯展/台中20號倉庫/台灣

2011 迎新舞會-第十一屆駐站藝術家期初聯展/台中20號倉庫/台灣

2010 蓋白屋.台灣壁畫隊/高雄橋頭白屋/台灣

2010 介.越/流動的時間軸 /台中20號倉庫/台灣

2008 新樂園十周年展-永恆的成人遊戲工廠/台北關渡美術館/台灣

2006「過境--城市行旅」/台中20號倉庫

2006 城市曼波-台北新樂園藝術空間‧雪梨Stone Villa交流展/台北新樂園、雪梨Stone Villa/台灣/澳洲

2006「藝術中的虛數i」/高雄高苑藝文中心/台灣

2006 台北國際畫廊博覽會/台北華山藝文特區/台灣

2005 女子們的心緒.6人聯展-思絮繽紛/高雄杯子咖啡館/台灣

2005「捉影．DRAWING－素描主題展」/台中20號倉庫/台灣

2004 台中20號倉庫第四屆駐站藝術家期末聯展-情人座與自在的產房/台中20號倉庫/台灣

2003 台中20倉庫第四屆駐站藝術家遴選展/台中20號倉庫/台灣

2002 第19屆高雄市美術展覽會/高雄市立美術館/台灣

2002 陳哲師生聯展/嘉義市文化中心/台灣

2001第18屆高雄市美術展覽會/高雄市立美術館/台灣

2001八九不離十聯展/台南原型藝術空間/台灣

2001 45°聯展／高雄豆皮文藝咖啡館/台灣

2001「心靈轉譯」-精神醫學與藝術的對話/高雄正修藝術/台北大趨勢藝術中心/台灣

繪本合作創作

2023《ta ta ta tiraw i wali no wa:li 去！去！去！去東邊的東邊》/港口部落港口部落/林務局花蓮林管處

2023《papina’on tarakarihaw小心！淺水灘》/靜浦部落/林務局花蓮林管處

2021《poroden ko faloco’媽媽的苧麻線球》/貓公部落/林務局花蓮林管處

2020《我們在這裡 /磯崎部落》/花蓮縣政府原住民行政處

2020《這是你最愛的東西，記得帶走》/新社部落/林務局花蓮林管處

2019《patena巴的那斯 阿美族男人的生命祭儀》/港口部落/花蓮縣政府原住民行政處  不能吃的螃蟹/港口部落/花蓮縣政府原住民行政處

書籍繪圖創作

2020 臍帶之地-豐濱地方文化材料圖誌

2020 臍帶之地-與山的生活

藝術創生計畫與藝術季

2019-2021 森川里海藝術創生

2018 森川里海溼地藝術季

展覽策劃

2006 燕子之城：移民、後/殖民記憶與新台灣色彩/展覽執行團隊

2006 城市曼波-台北新樂園藝術空間‧雪梨Stone Villa交流展/台北新樂園/澳洲雪梨Stone Villa/ 協同執行

主辦單位：藝站跨藝社  

組織營運贊助：國藝會    

贊助單位：太平洋建設

未竟之事-張志達個展

時間：2025/7/26-8/16   

開幕講座：7/26(六)，13:00-14:00  講師：張志達創作分享

《未竟顯影》工作坊：14:30-16:00  萬一一與海山社區長輩 

地點：藝站 One Station (香山車站前)

https://www.facebook.com/HsinchuXiangshan

《未竟之事》

作品說明

在生活中尋找創作的靈感已是日常，《未竟之事》將未完成的建物透過空拍的視角壓縮成平面，並在影像中嵌入營造另一個平面圖，藉由光影的投射再次將影像轉換成立體的工地場景，為該主題疊加不同的空間創作脈絡，希冀提供觀看的嶄新視角，但無論視角如何轉換、圖像如何組構，建築工地終究是未完工的半成品，如同回憶中的「未竟之事」，徒留片段的場景即便一再回想，卻始終無法完成。

創作自述

René Magritte：「事物底下總有所隱藏，人們對隱藏的、無法看見的東西有著很大的興趣，總是想要探究這背後到底藏著什麼。」而表象隱藏的細節猶如Roland Barthes在《明室──攝影札記》提出第二義的刺點為「時間」：「當我探尋自己對某些相片的情感時，我以為我能夠去區分一個文化興趣領域（知面）以及偶而穿越其中的意外交錯，即刺點。現在我覺得還有另一種刺點，不是一個細節，沒有形，只有強度，它就是時間，是所思（此曾在），教人柔腸寸斷的激烈表現、純粹代表。」因此時間序列產生回憶，而回憶總是清晰又模糊，甚至錯置且倒敘。

就完形心理學「形與景」個體產生需求，自「景」中突顯成為「形」，需求一直未獲滿足，於是「形」無法退回「景」，阻礙完形的流動。

「形象和背景」無法流暢進行「接觸與退回」的過程產生斷裂，而過去未完成的經驗，當影像從背景中浮現時卻未被完結、未被覺知的情緒，存留在個人的心中徘徊，即形成「未竟之事」。

「未竟之事」不受時空的限制，這也是一再輪迴的原因。

張志達 

臺北市出生

國立臺灣藝術大學圖文傳播藝術學系 碩士(2021-2023)

國立臺灣藝術大學美術學系 研究所(2023-)

獲獎經歷

2013 新光三越國際攝影大賽「The day after tomorrow」參獎，臺北，中華民國

2014 全國美術展 攝影類〈衣櫥裡的秘密〉金牌獎，臺中，中華民國

2017美國 IPA 攝影大賽 Fine Art: Collage / 1st place，美國

2018全國美術展 攝影類〈Tattoo on the earth〉銀牌獎，臺中，中華民國

2018花蓮美術獎 影像類 花蓮獎，花蓮，中華民國

2019新光三越國際攝影大賽〈Tattoo on the earth〉首獎，臺北，中華民國

2019台灣銀行藝術季 攝影類〈遇見田中間〉首獎，臺北，中華民國

2020新光三越國際攝影大賽〈陸上行舟〉貳獎，臺北，中華民國

2021屏東美展〈看見的，看不見〉首獎 屏東獎，屏東，中華民國

2022基隆美展 攝影與新媒體藝術類〈未竟之事〉基隆獎，基隆，中華民國

2023全國美術展 攝影類〈未竟之事：建築篇第壹號〉金牌獎，臺中，中華民國

2024宜蘭美術展 攝影類〈你在找我嗎？〉宜蘭獎，宜蘭，中華民國

2024桃城美展〈遇見田中間_小農的最後一哩路〉歐陽獎，嘉義，中華民國

展出經歷

2015「新•聚焦影像展」臺北藝術攝影博覽會/臺北

2017「新•聚焦影像展」臺北藝術攝影博覽會/臺北

2019 夏季當代攝影沙龍展 世貿一館/臺北

2020 影像藝術 Photo Art TAIWAN 360°－探索台灣攝影藝術新觀點/臺北

2023《未竟事務的影像再現》張志達個展 爵士藝廊/台北

2023「比喻．隱喻：逐光追影及它義」聯展 國家攝影文化中心/臺北

2023「映態：112年全國美術展攝影類」聯展 國家攝影文化中心/臺北

2025「虛空之境：當代攝影中的領土與都市凝視」聯展 國家攝影文化中心/臺北

Unfinished Business - CHANG Chih-Ta Solo Exhibition

Exhibition Dates: Sat 26 Jul - Sat 16 Aug 2025 

Sat 26 Jul, 1pm-2pm

Opening & Artist Talk: CHANG Chih-Ta

2:30pm-4:00pm

Workshop: YiYi Wan+ Residents of Haishan Community

Location: One Station (next to Hsinchu Xiangshan Station)

Gallery Hours: Thu-Sun 11am-6pm

https://www.facebook.com/onewetland

Statement

René Magritte: "Everything we see hides another thing, we always want to see what is hidden by what we see". Details hidden underneath the surface are like Roland Barthes' proposal of "time" as the second punctum in "La Chamber Claire": "When I was inquiring into my attachment to certain photographs, I thought I could distinguish a field of cultural interest (the studium) from that unexpected flash which sometimes crosses this field and which I called the punctum. I now know that there exists another punctum (another 'stigmatum') than the 'detail'. This new punctum, which is no longer of form but of intensity, is Time, the lacerating emphasis of the noeme ('that-has-been'), its pure representation". thus, time sequence generates memory, and memory is always clear yet blurry, or even mistaken and in reverse order.

In terms of "figure and scene" in Gestalt psychology, an individual has needs that are highlighted from "scenes" into "figures", yet the needs are never satisfied; thus, "figures" cannot return to "scenes", blocking the flow of gestalt.

"Image and background" cannot smoothly "contact and return", and therefore the process is ruptured. The incomplete past experience, the unfinished and unnoticed emotions emerging from the background, linger on in an individual's heart, forming "Unfinished Story".

"Unfinished Story" is not limited by time and space, and this is the reason for constant reincarnation.

CHANG Chih-Ta

Master's in Graphic Communication Arts, National Taiwan University of Arts (2021-2023)

Graduate Studies in Fine Arts, National Taiwan University of Arts (2023-)

Award

National Art Exhibition, Photography Category：Gold Medal, Silver Medal

Shin Kong Mitsukoshi International Photography Contest：First Prize, Second, Prize, Third Prize

International Photography Awards, Fine Art_Collage：1st place

Collection

〈Skin for Another Body〉 Collection by Ministry of Culture Art Bank Collection 

〈Tattoo on the Earth〉 Collection by Ministry of Culture Art Bank Collection

〈Give me a Cloud, for I’m a Bird in Flight〉 Collection by Shin Kong Mitsukoshi Culture and Education Foundation 

〈Playground〉 Collection by Shin Kong Mitsukoshi Culture and Education Foundation 

〈Seen, invisible〉 Collection by Cultural Affairs Department of Pingtung County Government

Exhibition

2015 "New Focus Photography Exhibition" Taipei Art Photo Expo / Taipei

2017 "New Focus Photography Exhibition" Taipei Art Photo Expo / Taipei

2019 Summer Contemporary Photography Salon Exhibition, World Trade Center Exhibition Hall / Taipei

2020 Photo Art TAIWAN 360° - Exploring New Perspectives in Taiwanese Photography / Taipei

2023 "Unfinished Business: The Reproduction of Images" Solo Exhibition by CHANG Chih-Ta, Jazz Gallery / Taipei

2023 "Metaphor. Metonymy: Chasing Shadows and Their Meanings" Group Exhibition, National Center of Photography and Images (NCPI) / Taipei

2023 "Reflections: Photography Category of the 112th National Art Exhibition" Group Exhibition, National Center of Photography and Images (NCPI) / Taipei

2025 "Vanités Modernes", National Center of Photography and Images (NCPI) / Taipei

Sponsor:

National Culture and Arts Foundation  

Pacific Construction Co., Ltd.

李佳姸攝影