蒼穹之羽 / Celestial Wings
作品名稱：蒼穹之羽
藝術家：李蕢至
攝影：李蕢至、杜秀良、廖榮鑫
媒材：白茅、竹、麻繩、稻草、蘆葦、鋼筋
尺寸：340cm(L)x220cm(W)x460cm(H)、200cm(L)x100cm(W)x280cm(H)
地點：關渡自然公園，台北市，臺灣
年代：2026
2026關渡國際自然藝術季緯創作品
候鳥不只是飛過天空，而是在閱讀星球；
濕地不只是停留之地，而是萬物彼此相遇的地方。
兩件羽翼構成的月形，是天地之間持續展開的對話，也是生命在星球上不斷循環、遷徙與共生的旅程。
關渡濕地位於淡水河與基隆河交會處，是河流、海洋與陸地相遇的地方，也是東亞候鳥遷徙路線上重要的棲地。每年來自遙遠北方的鳥群依循季節的更替與地球節奏抵達此地，在潮汐與蘆葦之間停歇、覓食與繁衍，完成生命旅程中的重要篇章。
作品由公園步道兩側的一大一小兩件雕塑構成。從近處觀看，其外形如展開的羽翼，遠觀則共同形成一道升起的弦月，也是橫跨地景的弧線。它猶如星球的弧面、生命運行的軌道，以及候鳥跨越大地時所描繪出的飛行路徑，而當人們行走其間，彷彿穿越一道由土地與天空共同開啟的門戶。這使得作品介於飛翔與降落之間，介於天空與土地之間。
許多古老文明都將鳥視為天地之間的信使。在東亞有鳳凰，在埃及有荷魯斯，在北歐有奧丁的渡鴉，在南島文化中也流傳著鳥神的傳說。這些神話皆認同鳥是最接近天空的生命。牠們飛越山脈、海洋與國界，穿梭於不同土地之間，成為連結天地與世界的媒介。從當代生態學的角度來看，候鳥是地球生命網絡的信使。牠們跨越山海與國界，將遙遠的濕地與棲地彼此連結，而關渡濕地正是這條生命路徑上的重要的休憩站。
雕塑的紋理取自羽毛結構與氣流形態，並由不同的自然素材所構成，如候鳥跨越不同棲地串聯的生命路徑。以線條回應風、潮汐、水文與氣候等自然力量，呈現生命在環境中的相互依存。候鳥的遷徙與季節、潮汐及地球運行息息相關，而作品的月形，則將飛行、土地與星球的節奏連結於同一空間之中。
作品營造出一處介於神話與現實之間的場域。當觀者站立於兩件羽翼之間，自身也成為作品的一部分。人在此不再只是觀看者，而是置身於天空與土地之間，感受自身與濕地、生物及宇宙規律的關係。
從古老神話中的神鳥，到今日跨越國界的候鳥；從濕地中的一片羽毛，到地球運行的軌跡；從土地上的人，到夜空中的月亮，萬物彼此連結，也在流動之中不斷相遇，形成共同棲居的生命網絡。
共同創作：
王小勤、王文君、王殿韻、王靖彤、朱育萱、朱其文、何沛諼、余憶芸、吳佳純、李幼麒、李淑玲、周文玲、周美秋、林中堯、林志璿、林秀美、林姵岑、林群雅、金鈺蓉、施俊逸、施宥瑜、洪櫻芬、唐劍秋、張元勳、張天勳、曹羽伶、許芳嘉、陳永傑、陳禾榛、陳采蓁、陳威銘、陳清村、游智鈞、馮翠芬、黃柏森、黃雅君、楊蕙禎、鄒 琴、劉子晨、劉怡君、劉盈瑩、劉家昕、潘建銘、蔡竹嘉、蔡燕華、賴奕璇、戴宥薰、謝裕民、鍾佩君、鍾權昱、顏力行、蘇世軒、蘇姵儀、蘇毓傑
Title: Celestial Wings
Artist: Kuei-Chih Lee
Photography: Lee Kueichih, Du Xiuliang, Liao Rongxin
Media: white cogongrass, bamboo, hemp rope, rice straw, reeds, rebars
Dimensions: 340cm (L)×220cm(W)×460cm(H), 200cm(L)×100cm(W)×280cm(H)
Location: Guandu Nature Park, Taipei, Taiwan
Year: 2026
2026 Guandu International Nature Art Festival × Wistron Foundation
Migratory birds do not merely cross the sky—they read the planet.
Wetlands are not simply places to rest, but places where all forms of life encounter one another.
The crescent form created by the two wings unfolds as an ongoing dialogue between earth and sky, tracing the continuous journey of life as it cycles, migrates, and coexists across the planet.
Guandu Wetland lies at the confluence of the Tamsui and Keelung Rivers, where rivers, ocean, and land meet. It is also an important habitat along the East Asian migratory flyway. Each year, birds arriving from the distant north follow the changing seasons and rhythms of the Earth to reach this place. Among the tides and reeds, they rest, forage, and breed, continuing an essential chapter in their journeys of life.
The work consists of two sculptures, one large and one small, situated on opposite sides of a park path. Seen up close, they appear as wings unfurling in flight; viewed from afar, they come together to form the graceful arc of a rising crescent moon, a curve extending across the landscape. The form evokes the curvature of the planet, the orbit of life, and the flight paths drawn by migratory birds as they cross the land. As visitors walk between the two forms, they pass through a gateway seemingly opened by earth and sky. The work thus exists between flight and landing, between sky and land.
Across many ancient civilizations, birds have been regarded as messengers between earth and sky. East Asia has the Fenghuang; ancient Egypt, Horus; Norse mythology, Odin’s ravens; and Austronesian cultures also carry traditions and stories of sacred birds. Across these different mythologies, birds have often been understood as creatures closely connected to the sky. They cross mountains, oceans, and borders, moving between distant lands and linking different worlds. From the perspective of contemporary ecology, migratory birds can also be understood as messengers within the planet’s living network. Their journeys across mountains, seas, and borders connect distant wetlands and habitats, with Guandu Wetland serving as an important resting place along these routes.
The textures of the sculptures draw from the structures of feathers and the movement of air. Different natural materials are woven together, echoing the way migratory birds connect diverse habitats along their journeys. The lines of the work respond to natural forces such as wind, tides, hydrology, and climate, revealing the interdependence of life and environment. Bird migration is intimately connected to the seasons, tides, and rhythms of the Earth, while the crescent form of the work brings flight, land, and planetary rhythms together within a single space.
The work creates a space between myth and reality. When visitors stand between the two wings, they themselves become part of the work. No longer merely observers, they enter a space between sky and land, where they may sense their own relationship with the wetland, other forms of life, and the larger rhythms of the cosmos.
From the sacred birds of ancient mythology to the migratory birds that cross borders today; from a single feather in the wetland to the trajectories of a moving planet; from people standing upon the land to the moon in the night sky, all forms of life are interconnected. Through continuous movement and encounter, they form a living network in which we all coexist.
PROCESS
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