蔡佳宏 ／ Tsai, Jia-Hong
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出生於1994年臺北，現居於高雄，為藝術創作者與視覺設計師。2016年畢業於國立臺南藝術大學，材質創作與設計系。2022年畢業於國立臺南藝術大學，應用藝術研究所陶瓷組。

面對著個人的身體狀態與肉身記憶，我關注的是如何在創作過程中召喚出潛在的情動力，在陶瓷創作的領域中，反覆實驗「土」與「身」之間的多重纏捲狀態──讓「意識」、「肉身」與「物質」，在陶土創作的過程中，產生一種新的關係與重組，身體猶如一張被潛抑的情緒地圖，同時也是一座被記憶所雕塑的軀體。

「土」這個媒材已非僅僅是展現我思想的載體，其中具有更深層的意義：與我的生命產生緊密連結所畫出的蜿蜒軌跡，雖有其內向性，卻也同時展現「人的生存普遍情狀」。在創作過程中，陶瓷雕塑在飽含著儀式性的摔、揉、捏、塑的過程中，在這看似不顧結果也無關視覺美感的動作下，是從無到有的堆疊；再從有之中掏空與變形，或許有重建也有破壞，這其中所有紛雜細碎的思緒在經歷火的燃燒後凝固定格，也彷彿自我的一部分得到了安頓與輕盈。

近年個展包括2023年《褶肉記》、2024年《Passionfruit》、2025年《Compassion》及《殘酷母器》等展覽，並獲得2026年度亞洲文化協會（Asian Cultural Council）紐約獎助計畫、《第24屆（2025）台新藝術獎》提名、《2023高雄獎》首獎、《第21屆（2023）台新藝術獎》年度入圍、2024年度《國家文化藝術基金會》創作補助、《第五屆青年陶藝獎》入選、《法藍瓷光點計畫》光點獎學金。

2026年度獲得《日本－信樂陶藝之森（SCCP）》駐村創作邀請，2023年獲選代表參加「鶯歌陶瓷博物館」與奧地利林茨「格蒙登陶瓷學院」為期三個月的藝術家駐村交流計畫。2024年參與花蓮港口部落的《 Makotaay Eco Art Village》駐村計畫，作品後續參與了今年度美國聖塔菲IAIA當代原住民藝術博物館的《破土：臺灣當代原住民藝術與行動主義》聯展，作品《褶肉記──生機之域》於2024年獲邀參與高雄市立美術館與加坡國家美術館、新加坡美術館共同策劃的《珍珠──南方視野的女性藝術》聯展。

作品曾獲高雄市立美術館、上奧地利邦政府文化機構等單位典藏。藝術家談訪文章與節目曾刊登於香港《ArtAsiaPacific》藝術雜誌、德國《Neue Keramik》陶藝雜誌、《藝術認證》、《藝術家雜誌》、《典藏ARTouch》、《台新藝術ARTalks》、《台灣陶藝聚落》、愛樂電台《藝術相對論》、鶯歌陶瓷博館《藝術開麥拉》、《無窮的瞬間：臺灣當代女性藝術2003-2023》等書籍與平台。

 

Born in Taipei in 1994 and currently based in Kaohsiung, Taiwan, I am an artist and visual designer. I graduated from the Department of Material Creation and Design at Tainan National University of the Arts in 2016, and received my M.A. from the Ceramics Group, Graduate Institute of Applied Arts, Tainan National University of the Arts, in 2022.

Confronting my own bodily states and embodied memory, my practice is concerned with how latent emotional forces may be summoned through the process of making. Within the field of ceramic creation, I repeatedly explore the multiple entanglements between clay and body—allowing consciousness, flesh, and material to enter into new relationships and reconfigurations through the act of working with clay. For me, the body is like a map of repressed emotions, and at the same time, a figure sculpted by memory.

Clay is no longer merely a medium for expressing my ideas; it carries a deeper significance. It traces a winding path intimately connected to my life—one that may appear inward-looking, yet also reveals the universal conditions of human existence. In the process of creation, my ceramic sculptures are shaped through ritualistic acts of throwing, kneading, pinching, and forming. Beneath these gestures—seemingly unconcerned with outcomes or visual beauty—lies a process of building something from nothing, then hollowing, deforming, destroying, and perhaps rebuilding again. After passing through fire, these fragmented and intricate thoughts are fixed into form, as if a part of myself has finally found a place of settlement and lightness.

My recent solo exhibitions include Personal Tortuous History of Flesh (2023), Passionfruit (2024), Compassion (2025), and The Cripped and Queered Vessel (2025). I have received the 2026 Asian Cultural Council New York Fellowship, a nomination for the 24th (2025) Taishin Arts Award, First Prize at the 2023 Kaohsiung Award, selection as a finalist for the 21st (2023) Taishin Arts Award, the 2024 National Culture and Arts Foundation Creation Grant, selection for the 5th Taiwan Young Pottery Artist Award, and the Light Spot Scholarship from the FRANZ Rising Star Project.

In 2026, I was invited to participate in the artist residency program at the Shigaraki Ceramic Cultural Park in Japan. In 2023, I was selected to represent Taiwan in a three-month artist residency and exchange program jointly organized by the Yingge Ceramics Museum and the Gmunden Academy of Ceramics in Austria. In 2024, I joined the Makotaay Eco Art Village residency in Hualien. Works developed through this residency were later included in Breaking Ground: Art and Activism in Indigenous Taiwan at the IAIA Museum of Contemporary Native Arts in Santa Fe, USA. My work Personal Tortuous History of Flesh: Field of Vitality was also invited to Pearl: Southern Visions of Women Artists, a group exhibition jointly organized by the Kaohsiung Museum of Fine Arts, the National Gallery Singapore, and the Singapore Art Museum in 2024.

My works have been collected by the Kaohsiung Museum of Fine Arts, the cultural institutions of the Upper Austria state government, and other organizations. Interviews, feature articles, and programs on my practice have appeared in publications and platforms including ArtAsiaPacific (Hong Kong), Neue Keramik (Germany), Art Accrediting, Artist Magazine, ARTouch, Taishin Arts ARTalks, Taiwan ClayArt Tribes, E-Classical Radio’s Art Relativity, the Yingge Ceramics Museum’s Art Camera, and the book Infinitely Ephemeral: Contemporary Women’s Art in Taiwan, 2003–2023.