721:(2018), Labay Eyong presents the "narrow passage between the legs" as the final piece, incorporating strong metaphorical and visual impact. Walking out from the narrow door symbolizes the birth of life, entering the imperfect real world immediately surrounded by reality. Simultaneously, intense sound effects from another exhibited piece immediately evoke an impulse to return among viewers. However, while appreciating the exhibition can turn back, life constantly moves forward. It's akin to life being a one-way journey for each individual, always encountering various challenges.
466:. When it came time to choose a specialization in her second year, she opted for the metalworking group, eliminating options that involved working with computers, which she disliked. Immersing herself in the world of handcraft, she spent the next three years mastering metalworking techniques. As her senior project approached, she returned to her community, learning traditional weaving skills from elderly artisans. At the time, this was a pursuit of traditional craftsmanship, which Labay then incorporated these techniques and tribal symbols into her metalwork.
477:. On the opening day, she invited women from households in the village to bring out their Qubang, or traditional Taroko weavings, which had been stored away for years. As visitors stepped into the exhibition space, they entered a realm filled with the vibrancy of Labay's life and artistic expression, intertwined with the history and daily life of the community. she was moved to tears, a reaction in any of her previous exhibitions.
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580:, where she collaborates with Italian director Tommaso Muzzi in establishing the Mud Chair Studio. Their work encompasses curation and cultural documentary projects. She continues to engage in residency programs worldwide, utilizing her sensitivity to local environments and historical contexts in her on-site creations.
459:(ETSAB). Contrary to her undergraduate focus on technical skills, her time at ETSAB exposed her to interdisciplinary courses led by guest scholars and practitioners from seemingly unrelated fields. This experience broadened her perspective and nurtured diverse thinking skills, influencing her future endeavors.
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Reflects Labay's long-term exploration of weaving using various materials, gradually forming a mature and distinctive visual language. Originating from her leisurely learning of basic crochet from friends in
Barcelona, viewers perceive the process of a fetus gestating within a mother's body, shining
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Labay Eyong(Chinese: 林介文; pinyin: lín jiè), mixed Han
Chinese and partial Japanese ancestry(Father: Taroko, Mother: Han Chinese), refers to her indigenous lineage but is drawn to indigenous cultural traits. Furthermore, she rejects societal norms to preserve her creativity as an artist. Having faced
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With an internal intent of love rather than coercion, this art work reveals Labay Eyong's profound joy for life in a nearly unfiltered manner. Her recent works leave an impression of grandeur and sculptural quality in the fabrics she weaves, embodying an exuberant love for life and the body that is
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Her journey took a new direction in 2015 with the birth of her first child. Embracing motherhood, she found solace and inspiration, leading to a shift in her focus on themes of femininity, motherhood, and family dynamics. This period marked a profound shift in her artistic perspective, moving away
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Influenced by Han culture, where the round table has become an indispensable daily item in Labay's tribal community. This piece conveys the psychological state arising from breastfeeding and the dependency relationship with her son, reflecting Labay's endeavor to balance her identity as an artist
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Her upbringing in her native community, coupled with exposure to
Western artistic techniques and concepts, imbues her work with a blend of tradition and modernity. She navigates between the two worlds, drawing from her cultural heritage while embracing contemporary artistic practices. Through her
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In recent years, her works have retained the essence of weaving while embracing stylistic innovation. Traditional techniques are deconstructed and reimagined to convey abstract concepts, bridging personal narratives with broader historical and cultural themes. Her art serves as a testament to the
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Becoming a mother in 2015 marked a transition in her artistic journey. Her works began to reflect her experiences and relationships, shifting from abstract concepts to more concrete expressions of maternity and familial bonds. Despite this evolution, she remained rooted in her indigenous heritage
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An award-winning installation combining soft sculpture and film, Labay portrays a dialogue between women as individuals across different temporal and spatial realms. This piece marks her formal initiation into the identity of a "woman" of the Truku tribe after learning weaving in 2014.
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in 2008. Since 2009, she has focused on art in eastern Taiwan, exploring themes related to women, ethnic groups, and society. Throughout her career, her work has spanned various mediums including soft sculpture, video, and metalworking. Notable projects of hers include
427:. After becoming a mother in 2015, which significantly influenced her art, Labay Eyong co-founded "Mud Chair Studio" for curation and cultural records. She has been recognized with awards such as the 2016 Public Art Environment Integration Award and the 2014 and 2016
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Drawing from her traditional Taroko weaving heritage, she diversified her artistic endeavors, spanning metalworking, soft sculpture, spatial installations, video art, writing, public art, and curation. Her multidisciplinary approach garnered recognition in
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verbal harassment in school, which fostered resentment towards males, her determination to defy traditional gender roles leads her to question whether her current activities align with traditional women's roles. Her journey as an artist mirrors her path to
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592:'s recent exploration of indigenous consciousness, ethnic politics, displacement, and evolution. Moreover, as an artist, she navigated themes of female subjectivity, interracial relationships, and indigenous identity.
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weaving began during her time in
Barcelona, where she learned crochet and knitting techniques during her leisure time.These experiences led her to reminisce about her grandmother's weaving practices. Upon returning to
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illustrates this transition from academic influences to personal expression. By combining indigenous motifs with contemporary fashion, the piece symbolizes her struggle with identity and societal expectations.
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tags using the button below. This will let reviewers know a new draft has been submitted in their area of interest. For instance, if you wrote about a female astronomer, you would want to add the
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603:. Following this, initially focusing on metalworking, she developed indigenous-inspired jewelry under the theme of "BUBU's Wardrobe," which paid homage to her grandmother(BUBU means mother in
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In 2014, she inherited 200 pieces of woven fabric from her grandmother's wardrobe, prompting her to learn traditional weaving techniques. This marked a pivotal moment as she delved into her
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project, officially inviting weavers she deemed suitable to become artists, intervening in the fabric culture through art and showcasing the contemporary nature of traditional weaving.
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Labay confronts life with an absolute sense of femininity and maternal indulgence. A mature woman exudes confidence amidst modesty, expressing layered interpretations of life.
410:. After Labay Eyong went abroad to study, she was given a name where each word was taken from the names of her grandmother and father.Following her studies, she graduated from
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Confronting historical wounds and cultural erosion, Labay Eyong finds healing and new thoughts in her creative process. Subsequently, in 2020 with the piece
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endeavors, she continually renews the connections between tradition and innovation, contributing to a tapestry of indigenous artistic expression in
524:. Despite initially aiming for metalworking courses, she found herself immersed in contemporary art, which became a moment in her artistic journey.
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In 2014, she decided to inherit the spirit of these feminine artifacts and began learning weaving, embracing the identity of a “
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heritage, creating large-scale textile sculptures. These weavings draw inspiration from her family's experiences during the
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from solely indigenous identity exploration towards broader reflections on womanhood and domestic life.
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Transitioning from academic influences to personal expression, her 2012 video work
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1637:"Policy, Memory and Material Experiences: Labay Eyong and U.S. Aid to Taiwan"
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1551:"Policy, Memory and Material Experiences: Labay Eyong and U.S. Aid to Taiwan"
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joint exhibition, National Taiwan Museum of Fine Arts, Taichung
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Group Exhibition, National Taiwan Museum of Fine Arts, Taichung
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In 2005, shortly after graduating from university, she went to
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while exploring themes of femininity and the maternal figure.
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after obtaining a master's degree in spatial design from the
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in her hometown, coinciding with the launch of her new book
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402:(Chinese: 林介文; pinyin: lín jiè wén, born in 1982), born in
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identity, intertwined with her identity as a woman.
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Group Exhibition, Museum of Contemporary Art, Taipei
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In December 2011, she organized an exhibition titled
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Escuela Técnica Superior de Arquitectura de Barcelona
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Great House Contemporary Women’s Creation Exhibition
626:, I wonder how my work would have grown,” she said.
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1966:Categories
1952:2024-05-22
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783:References
719:Motherland
605:Kari Truku
372:WP:NARTIST
283:Easy tools
1742:"順益台灣美術館"
1527:"順益台灣美術館"
1503:"順益台灣美術館"
1439:"順益台灣美術館"
1365:"順益台灣美術館"
449:Barcelona
412:Barcelona
298:Advanced:
254:Astronomy
250:Biography
163:talk page
151:live help
140:, please
118:live help
56:secondary
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1947:台灣女性藝術協會
1864:"藝術書寫工廠"
1722:cite web
1483:cite web
1418:台灣女性藝術協會
1345:cite web
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1240:台灣女性藝術協會
1135:cite web
1094:傳藝online
1027:cite web
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886:台灣女性藝術協會
819:台灣女性藝術協會
702:Weaning,
657:Artworks
492:in 2005
368:Comment:
335:Resubmit
217:reliable
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289: (
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1844:非池中藝術網
1770:非池中藝術網
1612:"精選典藏"
1586:"文章列表"
694:2018
675:2016
651:Taiwan
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597:Taiwan
590:Taiwan
574:Taiwan
542:Taiwan
534:Taiwan
529:Taroko
510:Taiwan
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482:Taroko
442:Taroko
404:Taroko
386:(talk)
260:tags.
256:, and
1658:人間通訊社
1640:(PDF)
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1414:"林介文"
1390:"林介文"
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704:2018
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584:Style
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550:China
522:Spain
490:Spain
475:Dowry
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