Memory of Home Series 2026 in Hirado

September 25, 2026 chuchun yang

Atelier CHUZI joins The Symphony of Bamboo & Wind in Hirado

We are pleased to announce that Atelier CHUZI take part in The Symphony of Bamboo & Wind, an exhibition held at the Hirado Dutch Trading Post in Nagasaki, Japan, from 26 September to 25 October 2026.

Bringing together creators from Japan, Taiwan, Indonesia, and the Netherlands, the exhibition explores bamboo and wind through craft, design, and cultural exchange. Set in Hirado—a place shaped by centuries of maritime encounters—the exhibition considers how materials, techniques, and cultures travel, intersect, and gradually form new relationships.

For the exhibition, Atelier CHUZI presents Memory of Home, an ongoing series of suspended bamboo works developed from the structural logic of bamboo weaving.

The work explores memory through balance and change over time. Bamboo strips are transformed into modular units that connect through joints, gravity, and tension. Once suspended, the initially planar structures unfold into three-dimensional forms, responding gently to the surrounding air and light.

Balance within the work is continually negotiated between structure, gravity, movement, and time. As the form shifts in response to its environment, memory is understood as something continuously shaped and reconfigured rather than fixed in a single state.

MH Series Made in Hirado

For this iteration of the MH Series, Atelier CHUZI continued the making process on site in Hirado, sourcing and preparing local madake bamboo during the stay.

Freshly prepared Japanese madake bamboo was integrated into the existing structure alongside Taiwanese Makino bamboo, allowing the work to develop through the specific material conditions of Hirado.

The freshly cut bamboo initially carries a vivid green tone, creating a visible contrast with the warmer colour of the dried Taiwanese bamboo. As the madake gradually loses moisture and shifts toward yellow and brown, the relationship between the two materials continues to change.

Time therefore becomes part of the material condition of the work.

Through this gradual transformation, the Hirado iteration extends the central concerns of Memory of Home: how memories from different places and moments can coexist, shift, and form new relationships.

The meeting of Taiwanese Makino bamboo and Hirado madake also reflects the historical connections between Taiwan and Hirado since the time of Koxinga. Materials from two places enter the same structure carrying different colours, histories, and temporal states, gradually establishing a new balance through shared time.

On the opening day, Atelier CHUZI will also host a bamboo craft workshop in Hirado.

We warmly invite you to visit.

The Symphony of Bamboo & Wind
竹と風の交響詩

Dates｜26 September – 25 October 2026
Opening Hours｜8:30–17:30

Venue｜Hirado Dutch Trading Post 平戸オランダ商館
2477 Okubo-cho, Hirado, Nagasaki 859-5102, Japan

Admission｜Adults ¥310｜Children ¥210

Presented by
Hirado City
Matsuura Historical Museum
Hirado Dutch Trading Post

Every Inspiring Moment｜在光停留的地方

July 4, 2026 chuchun yang

Elina Försti 與時間編織的風景

芬蘭西部廣闊的平原上，穀倉散落在農田與天空之間，在漫長的白晝與長夜中，有些傾斜，有些褪色，Elina Försti 凝視著落在木板上的光：那些在暗處留下的顏色、在舊穀倉上時間經過的痕跡。

望向芬蘭南博滕區（Southern Ostrobothnia）的穀倉，Elina Försti 以生活觀察為起點，
透過織品般的繪畫秩序，將地方光線、木造建築與時間變化，編織成一種觀看光與時間的方式。

在Elina Försti 的作品中，保有了距離的節奏，一種不急著靠近、不急著說明。

她的畫中有豐富的色彩與光影，卻不急著傳達某種特定情緒，而是觀察自己生活環境中的光：那些落在廣闊平原、穀倉、舊木板與天空之間的變化，如何在畫面中留下時間的感受。

色彩不是情緒，而是光的層次

在 Elina Försti 的作品裡，色彩並不是為了明亮，也不是為了製造強烈情緒。她提到，自己的畫面中幾乎不使用全黑。
這個第一眼或許不會立刻被注意到的細節，說明了她觀看環境的方式：
暗處並不是空無一物的黑，而是混著一點綠、一點藍，混著空氣、天光與時間的層次。

這樣的色彩感來自她長時間生活的地方。芬蘭西部廣闊平原邊緣的穀倉、舊木板、屋頂與天空，在日照很短的季節、極晝與漫長黑暗之間轉換。
她畫下的建築，描繪的並不只是建築本身，而是光的經過、停留與離開。

她也提到自己喜歡紅色，尤其是接近粉紅的色調。
那不是濃烈、戲劇性的紅，而是一種仍帶著溫度的紅，像光線落在木板、牆面或舊建築邊緣時，浮現的生命感。

光影色彩編織的時間

有人用料理記得季節，有人用照片整理記憶；而 Försti，則用繪畫呈現光停留的痕跡。

Elina Försti 曾分享自己的織品設計背景。這樣的經驗，自然地轉化為一種繪畫的秩序。
她以紙膠帶輔助油彩作畫，使畫面形成規律而清晰的線條。
那些線條讓人想起織布時經緯線的安排，也像是一種內化在身體裡的節奏。

在畫作中工藝不只是技法，而是時間、光影與觀看方式在畫面上留下的痕跡。
那些規律的線條、柔和而不完全明亮的色彩，以及舊建築逐漸變化的輪廓，讓畫面像一塊被時間編織過的布。

在 Elina Försti 的作品裡，風景不是被遠方觀看的對象，而是一段長時間生活其中後，慢慢浮現的感受。她畫下的穀倉，成了光停留的方式。那些規律的線條與微亮的暗處，像一塊由時間編織而成的布，承載著地方的存在。

文字｜Eric Chang ( Atelier CHUZI )

Elina Försti 艾琳娜・福斯提，1971年出生。現居並創作於芬蘭阿拉耶爾維（Alajärvi）。
2000 年畢業於赫爾辛基自由藝術學院（Free Art School），主修繪畫。
自 1998 年起，她的作品陸續於芬蘭及海外展出，並被多個芬蘭重要藝術機構典藏。

Elina Försti Solo Exhibition 艾琳娜・福斯提個展
展覽期間：2026/6/5 - 7/5
企劃統籌：Bridge Builder
展覽地點：ZASSO 草也 (台中市西區五權西六街72號)

Where Light Lingers

Elina Försti and Landscapes Woven by Time

Across the wide plains of western Finland, barns are scattered between fields and sky. Through long days and long nights, some lean, some fade, and some seem slowly taken back by time. Elina Försti turns her gaze toward the light that falls on wooden boards — the colours it leaves in shadow, and the way an old barn becomes a trace of time passing.

Looking toward the barns of Southern Ostrobothnia, Försti begins with the landscape she lives with. Through a painterly order that carries the sensibility of textile, she weaves local light, wooden architecture, and the passage of time into a way of seeing light and time.

There is a certain rhythm of distance in Försti’s work — a refusal to approach too quickly, or to explain too much. Her paintings are rich in colour and light, yet they do not rush to deliver a specific emotion. Instead, they observe the light of her surroundings: the subtle changes that move across plains, barns, old wooden boards, and sky, leaving a sense of time within the image.

Colour Is Not Emotion, but Layers of Light

In Elina Försti’s work, colour is not used simply to brighten the image, nor to create heightened emotion. She has mentioned that she almost never uses pure black in her paintings. It is a small detail that may not be immediately noticed, but it reveals the way she looks at her environment: darkness is not an empty black, but something mixed with green, with blue, with air, daylight, and layers of time.

This sensitivity to colour comes from the place where she has lived for many years. The barns, old wooden boards, rooftops, and skies along the edge of the wide plains of western Finland shift between seasons of short daylight, midsummer brightness, and long darkness. The buildings she paints are not only buildings themselves, but the movement of light as it passes through, rests, and leaves.

Försti has also spoken of her fondness for red, especially tones close to pink. It is not an intense or theatrical red, but a red that still carries warmth — like the sense of life that appears when light falls on wood, walls, or the edges of old architecture.

Time Woven Through Light and Colour

Some people remember the seasons through cooking; some arrange their memories through photographs. Försti, however, uses painting to hold the traces of lingering light.

Elina Försti has shared her background in textile design, and that experience has naturally transformed into a painterly order. She uses masking tape as part of her process with oil paint, creating clear and regular lines across the surface. These lines recall the arrangement of warp and weft in weaving, as if they were a rhythm internalized by the body.

In her paintings, craft is not only a technique, but a trace left by time, light, and ways of seeing. The regular lines, the soft and not-quite-bright colours, and the slowly shifting contours of old buildings make the image feel like a cloth woven by time.

In Elina Försti’s work, landscape is not a distant object to be observed, but a feeling that slowly emerges after living with a place over time. The barns she paints become a way for light to remain. Those regular lines and softly lit shadows are like a cloth woven by time, carrying the presence of a place.

Words by Eric Chang (Atelier CHUZI)