礁時共生 Breathing Reef

藝術家：李蕢至 

作品名稱：礁時共生

媒材：竹、鋼筋

尺寸：作品一_16.7m(L) x 5.6m(W) x 3.1m(H) / 作品二_5.4m(L) x 4.5m(W) x3.1m(H)

地點：藻礁路，新屋區，桃園市，臺灣

年代：2026

“2026桃園地景藝術節”

場先於物・生成先於形式・時間作為方法。

 此創作從一個已然存在的「場」開始思考。形式是在特定環境、時間與關係之中逐步生成的狀態。「場先於物」、「生成先於形式」，同時意味創作是一段發生於時間中的過程，而非瞬間定型的結果。

 藻礁所呈現的是一種在長時間中累積、轉化的生成狀態。其多孔隙的結構，是時間、流動與生命反覆作用所留下的痕跡，使流動得以穿行，關係得以延續，形成一個始終處於變化中的空間。作品從藻礁的這種型態獲得啟發，並回應其時間性的生成邏輯，將「孔隙」、「流動」與「共存」轉化為可被身體經驗的空間狀態。因此我將作品名為「礁時共生」。「礁時」意味著時間累積的地質生命時間；「共生」則指生命、人與場域在其中共同的生成。

 我將這樣的生成邏輯放大，結合生態廊道上的觀景平台，使原本為人觀看而存在的人工設施，轉化為一個可被穿行與進入的藝術場域。人的身體在其中移動、停留之間，逐步感知場域的時間，也成為作品開展時間的一部分。

 在材料的選擇上，我使用竹子作為主要媒材。竹子柔韌、可編構的特質，使結構自然形成孔隙與流動的空間狀態，更重要的是，它允許時間在材料中留下痕跡。竹構的製作高度依賴身體勞動，那種在反覆編織、調整結構與養成的過程中逐步成形。而時間在風、光、溫度、濕氣與人的相互作用下也自然成了作品的一部分。

 作品建立在一種隨時間展開的人地關係中，使人進入生成之中，而非站在完成之外。修補是一個長時間持續發生的行為，而關係在反覆的調整與回應中逐步甦醒。作品所在地的沿海是陸海交會的臨界狀態，人透過身體的時間經驗感知潮汐、風向與環境變化所形成的節奏。我以此生成創作的方式，回應「新自然」、「回春」與「海之地」三個面向。

 這件作品猶如是一個時間中持續生成的場。它呈現的「新現實」，是一種以關係、在場與時間為核心的現實狀態，重新學習與大地共處、在時間中的關係實踐。

Title: Breathing Reef

Artist: Kuei-Chih Lee

Materials: Bamboo, Rebar

Size: Work_1: 16.7m(L) x 5.6m(W) x 3.1m(H) / Work_2: 5.4m(L) x 4.5m(W) x3.1m(H)

Location: Zaojiao Road, Xinwu District, Taoyuan City, Taiwan.

Year: 2026

“Taoyuan Land Art Festival.”

Field precedes object, generation precedes form, time as method.

 This creation starts from an existing "field". Form is a state that is gradually generated in a specific environment, time, and relationship. "Field precedes object" and "generation precedes form", which also means that creation is a process that occurs over time, rather than the result of an instant finalization.

 What algae reefs present is a state of generation that accumulates and transforms over a long period of time. Its porous structure is the trace left by the repeated interaction of time, flow, and life, allowing flow to pass through and relationships to continue, forming a space that is always changing. This type of algae reef inspires the work and responds to its temporal generative logic, transforming "Reef pores", "flow," and "coexistence" into a spatial state that the body can experience. Therefore, I named the work "Breathing Reef". "Reef" means the accumulated geological lifetime; "Breathing" refers to the joint generation of life, people, and fields.

 I amplify this generation logic and combine it with the viewing platform along the ecological corridor to transform the artificial facility that was originally built for people to watch into an art field that can be walked through and entered. The time when the human body moves and remains in it, and gradually perceives the field, also becomes part of the work's developmental time.

 In terms of material selection, I use bamboo as the main medium. The flexible and braidable nature of bamboo allows the structure to naturally form a spatial state of pores and flow. More importantly, it allows time to leave traces in the material. The production of bamboo structures is highly dependent on physical labor, which gradually takes shape in the process of repeated weaving, structural adjustment, and cultivation. Time naturally becomes a part of the work due to the interaction of wind, light, temperature, moisture, and people.

 The work is based on a relationship between people and place that unfolds over time, allowing people to enter the process of becoming rather than standing outside completion. Repair is an ongoing behavior that occurs over a long period of time, and the relationship gradually awakens through repeated adjustments and responses. The coast where the work is located is the boundary where land and sea meet. People can perceive the rhythm formed by tides, wind direction, and environmental changes through their body's time experience. In this way of generative creation, I respond to the three aspects of "new nature", "rejuvenation", and "land of the sea".

 This work is like a continuously generated field in time. The "new reality" it presents is a state of reality centered on relationship, presence, and time. It requires relearning the practice of a relationship with the earth and time.