Hiro Hiro Art Space

Hiro Hiro Art Space 地址：台北市中正區紹興南街10號

《兩代之風》勅使河原蒼風擅長以鐵器作為花器媒材，而第三代家元勅使河原宏則以竹材創作聞名。本件大型裝置作品融合兩代家元各自鮮明的創作特色，藉由鐵與竹的結合，呈現草月流勇於突破素材界限、持續創新的精神。《Two Generations of W...
09/05/2026

《兩代之風》

勅使河原蒼風擅長以鐵器作為花器媒材，而第三代家元勅使河原宏則以竹材創作聞名。本件大型裝置作品融合兩代家元各自鮮明的創作特色，藉由鐵與竹的結合，呈現草月流勇於突破素材界限、持續創新的精神。

《Two Generations of Wind》

Sofu Teshigahara was known for incorporating iron vessels into his ikebana practice, while the third-generation iemoto, Hiroshi Teshigahara, became renowned for his bamboo-based creations. This large-scale installation brings together the distinctive characteristics of these two generations, combining iron and bamboo to express the Sogetsu School’s spirit of innovation and its continual exploration beyond the conventional boundaries of materials.

大型裝置製作人員：
黃淑青\陳品妤\Scent\林佳詩\Amy\心怡\Viviana\Kelly\陳怡彤\小茹\ 靜瑩\愛珠\Elliee\隋昀妤\Maya\Robin\雅雯\ Ceci\Beryl\李明玲\Stephy\美儒

展覽名稱：狂花一墨 A Stroke of Wild Bloom
藝術家： 勅使河原蒼風、羅士廉、梁瀚云
花藝家： 黃淑青、陳品妤
展期： May 2 — May 16, 2026

狂花一墨｜藝術家介紹梁瀚云，生於臺灣高雄，長期以自然為創作靈感來源。大學主修英文，後進入國立陽明交通大學應用藝術研究所視覺藝術組就讀，在學期間曾赴美國紐約與芬蘭赫爾辛基交流，並開始接觸陶藝與立體創作。畢業後於從事設計工作的同時，持續發展個人...
08/05/2026

狂花一墨｜藝術家介紹
梁瀚云，生於臺灣高雄，長期以自然為創作靈感來源。大學主修英文，後進入國立陽明交通大學應用藝術研究所視覺藝術組就讀，在學期間曾赴美國紐約與芬蘭赫爾辛基交流，並開始接觸陶藝與立體創作。畢業後於從事設計工作的同時，持續發展個人藝術實踐，逐步建立融合自然元素的陶藝語彙。
2017年赴日本四國高知縣，師從陶藝家小野哲平，專注投入陶藝創作。2020年於大阪舉辦首次個展後，陸續於日本各地展出，並於2021年獲文化部補助，前往滋賀縣立陶藝之森駐村。2022年返臺後持續創作與展出，並榮獲臺南新藝獎，亦入圍2025年高雄獎空間性藝術類。

Liang Han-Yun was born in Kaohsiung, Taiwan, and draws primary inspiration from the natural world. She majored in English before pursuing graduate studies in the Visual Arts program of the Institute of Applied Arts at National Yang Ming Chiao Tung University. During her studies, she participated in academic exchanges in New York and Helsinki, where she began exploring ceramics and three-dimensional materials. After graduation, while working in design, she continued to develop her personal artistic practice, gradually forming a ceramic language that integrates elements of nature.
In 2017, she moved to Kochi Prefecture in Shikoku, Japan, to study under ceramic artist Teppei Ono, dedicating herself to ceramic practice. Following her first solo exhibition in Osaka in 2020, she continued to exhibit across Japan. In 2021, she was awarded a grant by Taiwan’s Ministry of Culture to undertake a residency at the Shigaraki Ceramic Cultural Park. After returning to Taiwan in 2022, she continued her practice and exhibitions, receiving the Tainan New Art Award the same year and being shortlisted for the 2025 Kaohsiung Award in the Spatial Arts category.

work information:
Liang Han-Yun

❶ ceramics
24.5 x 15.5 x 24 cm
2026
❷ ceramics
21.5 x 19.5 x 11.5 cm
2026
❸ ceramics
12 x 12 x 23 cm
2026

Portrait Photo by Chen Yang

狂花一墨 A Stroke of Wild Bloom
Artist： Sofu Teshigahara、Chris LO Sze Lim 、LIANG Han-Yun
Ikebana artist： HUANG SHU CHING、Chen Pin Yu
May 2 — May 16, 2026

羅士廉畢業於香港中文大學藝術系（1990），長期專注於陶藝創作與教學。其創作涵蓋雕塑陶藝、裝置藝術及實用器物等多種形式，並於1996年創立大陶工作室，持續推動陶藝教育與實踐。他的作品以「人、物與時空的關係」為核心主題，透過自然、簡約的造形語...
07/05/2026

羅士廉畢業於香港中文大學藝術系（1990），長期專注於陶藝創作與教學。其創作涵蓋雕塑陶藝、裝置藝術及實用器物等多種形式，並於1996年創立大陶工作室，持續推動陶藝教育與實踐。
他的作品以「人、物與時空的關係」為核心主題，透過自然、簡約的造形語言與質樸肌理，展現兼具內斂與張力的創作氣質，並延伸出對日常經驗與精神層次的細膩觀察與思考，使作品在靜謐之中蘊含強烈的個人感知與創造能量。
羅氏曾任香港藝術中心陶藝課程及多個藝術課程之兼任導師，並於2007年獲邀參與美國 Kohler Art/Industry Residency Program 及日本信樂陶藝之森（Shigaraki Ceramic Cultural Park）駐場計畫。現為香港康樂及文化事務署轄下博物館陶藝專家顧問。
此外，他亦曾研習草月流花道，相關經驗進一步影響其對空間結構與材料關係的理解，並滲透於其陶藝創作之中。

𝐂𝐡𝐫𝐢𝐬 𝐋𝐨 𝐒𝐳𝐞 𝐋𝐢𝐦 was born in Hong Kong in 1967 and graduated from the Department of Fine Arts at The Chinese University of Hong Kong in 1990. With a prolific career in ceramic art spanning over 30 years, he has built an extensive exhibition history. After relocating to Taiwan, he founded the Cobo Ceramic Workshop -Taiwan, where he focuses on his creative practice. Lo has held numerous solo exhibitions and participated in international showcases across Japan, Taiwan, Korea, the United States, Europe, China, and Hong Kong. His works are held in the permanent collections of major art institutions, including the Hong Kong Museum of Art, the Hong Kong Heritage Museum, the National Museum of China, The John Michael Kohler Arts Center in the U.S., and The Shigaraki Ceramic Cultural Park in Shiga Prefecture, Japan, as well as in various private collections.

work information:
Chris LO Sze Lim
❶ ceramics
29 x 29 x 33 cm
2026
❷ceramics
27 x 22 x 29 cm
2026
❸ceramics
28 x 23 x 20 cm
2026

A Stroke of Wild Bloom:
Sofu TESHIGAHARA’s Calligraphy with Ceramics by Chris LO Sze Lim and LIANG Han-Yun, and Ikebana

Chris LO Sze Lim_photo by Blues Wong

勅使河原蒼風（1900–1979）為華道家勅使河原久次之長子，自幼在花道環境中成長並隨父習藝。早年即展現出卓越才華，但對當時強調既定形式的傳統插花產生質疑，遂於1927年創立草月流，開啟更為自由與當代的花道觀。 隔年，他於銀座千疋屋總本店舉...
30/04/2026

勅使河原蒼風（1900–1979）為華道家勅使河原久次之長子，自幼在花道環境中成長並隨父習藝。早年即展現出卓越才華，但對當時強調既定形式的傳統插花產生質疑，遂於1927年創立草月流，開啟更為自由與當代的花道觀。 隔年，他於銀座千疋屋總本店舉辦首屆草月流展，以輕盈且具現代感的創作引發關注，並透過於日本放送協會的廣播課程及持續展覽，使草月流迅速擴展影響力。戰時活動一度中斷，戰後自1945年起與小原豐雲的聯展重新出發，1950至70年代間更頻繁往返歐美各地舉辦展覽與示範，將花道推向國際舞台，確立其作為全球文化形式的地位。 他在花道中不斷提出革新手法，因此被譽為「花的畢卡索」，並獲頒法國藝術與文學勳章與法國榮譽軍團勳章等榮譽。除花道創作外，他亦持續投入雕塑、繪畫與書法等多元領域，直至晚年仍未間斷，於1979年辭世，影響深遠。

Sofu Teshigahara (1900–1979) was the eldest son of ikebana master Kyuuji Teshigahara. Raised in a floral environment from an early age, he began studying ikebana under his father and soon demonstrated exceptional talent. However, he became critical of the rigid formalism of traditional ikebana at the time, and in 1927 founded the Sogetsu School, opening a more free and contemporary approach to floral art.

The following year, he held the first Sogetsu exhibition at Sembikiya Sohonten in Ginza, attracting attention with his light, modern compositions. Through radio lectures on ikebana at NHK and a series of exhibitions, Sogetsu quickly expanded its influence. His activities were temporarily suspended during the war, but he resumed in 1945 with a joint exhibition with Oharu Toyofu. From the 1950s to the 1970s, he traveled extensively across Europe and the United States, staging exhibitions and demonstrations that brought ikebana onto the international stage and established it as a global cultural form.

He was widely regarded as the “Picasso of flowers” for his innovative approaches to ikebana, and received honors such as the French Ordre des Arts et des Lettres and the Légion d'honneur. Beyond ikebana, he also worked continuously in sculpture, painting, and calligraphy, remaining active in multiple forms of creation until his later years. He passed away in 1979, leaving a profound legacy.

Sofu Teshigahara Copyright © 2010 Sogetsu Foundation All Right Reserved.

藝術家｜ 勅使河原蒼風、羅士廉、梁瀚云花藝家｜ 黃淑青、陳品妤展覽名稱｜ 狂花一墨 A Stroke of Wild Bloom展覽期間｜ 2026年5月2日至5月16日開幕｜ 2026年5月2日 15:00地點｜ Hiro Hiro Ar...
21/04/2026

藝術家｜ 勅使河原蒼風、羅士廉、梁瀚云

花藝家｜ 黃淑青、陳品妤

展覽名稱｜ 狂花一墨 A Stroke of Wild Bloom

展覽期間｜ 2026年5月2日至5月16日

開幕｜ 2026年5月2日 15:00

地點｜ Hiro Hiro Art Space（台北市紹興南街10號）

一千零一島 One Thousand and One Islands March 28 — April 18, 2026Kiyoshi YAMAMOTO \ Lydia Soojin PARK \ Daniela BERGSCHNEIDER...
08/04/2026

一千零一島 One Thousand and One Islands
March 28 — April 18, 2026
Kiyoshi YAMAMOTO \ Lydia Soojin PARK \ Daniela BERGSCHNEIDER \ Tobias KVENDSETH \ Trine Lise NEDREAAS

一千零一島 One Thousand and One IslandsTobias KVENDSETH：最綿軟的盔甲，抵禦最溫柔的子彈Tobias KVENDSETH的作品是一場優雅的「視覺詭計」。他的創作深深刻畫了社會結構與文化傳統對個體造...
28/03/2026

一千零一島 One Thousand and One Islands

Tobias KVENDSETH：
最綿軟的盔甲，抵禦最溫柔的子彈

Tobias KVENDSETH的作品是一場優雅的「視覺詭計」。他
的創作深深刻畫了社會結構與文化傳統對個體造成的心理
餘震，如羞恥感、躁動與順從。在《AntiSeeds（反種子
）》系列中，他敏銳地捕捉到人造武器（如炸彈、子彈）與
植物種子在形態上的驚人相似——兩者皆是體積微小卻蘊
含巨大能量的載體。他透過這種形狀的重疊，試圖探討「
益處」與「傷害」之間那道模糊的邊界：究竟人類的意志
是否能獨立於我們所創造的形態之外？還是我們在無意間
，已成為這些毀滅性潛能的共犯？在《Bryste/Briste》中
，他利用物理特性，精巧地將柔軟的黏土燒製偽裝成沉重
冷冽的金屬盔甲。這些看似堅硬的「盔甲」，實則是面對脆
弱試圖武裝的羞恥感與保護欲的拆解。

Tobias KVENDSETH：
To fence off the tenderness of a bullet with the
vulnerable armour.

The works of Tobias KVENDSETH operate as elegant
visual deceptions. His practice traces the
psychological aftershocks produced by social
structures and cultural traditions—shame, agitation,
and obedience.

In the series AntiSeeds, he observes the striking
morphological resemblance between artificial weapons
such as bombs or bullets and plant seeds. Both are
small in scale yet charged with immense potential
energy. Through this overlap of forms, Kvendseth
probes the blurred boundary between benefit and
harm: can human intention truly exist independently
from the forms we create, or have we unknowingly
become accomplices to their destructive potential?

In Bryste/Briste, he exploits material properties to
transform soft clay into objects that convincingly
resemble heavy metallic armour. These seemingly rigid
armours reveal themselves instead as dissections of
shame and the protective impulse—the attempt to
armour oneself against vulnerability.

展期 Duration｜ March 28 — April 18, 2026
開幕 Opening ｜March 28, 2026 15:00
藝術家 Artists｜Kiyoshi YAMAMOTO \ Lydia Soojin
PARK \ Daniela BERGSCHNEIDER \ Tobias
KVENDSETH \ Trine Lise NEDREAAS
地點 Venue｜Hiro Hiro Art Space
台北市中正區紹興南街10號

一千零一島 One Thousand and One IslandsLydia Soojin Park：�千層薄衣、千層念、念念，不能忘Lydia Soojin Park的瓷器是時間與情感的堆疊紀錄。《When the sky breath...
26/03/2026

一千零一島 One Thousand and One Islands
Lydia Soojin Park：�千層薄衣、千層念、念念，不能忘

Lydia Soojin Park的瓷器是時間與情感的堆疊紀錄
。《When the sky breathes, The water listens》等作品，
透過高、低溫的實驗性燒製，每一次窯燒都產生了不可預
測的反應，使她得以探索並模糊繪畫與陶瓷釉彩之間的界
線，鈷藍色釉料在瓷面交織出挪威天海交接處的微光。作
品《TemporalExpansion》中，藝術家利用廢棄的瓷片和
工廠黏土，將這些材料重新組合並燒製，最終形成一件見
證時間檔案般的作品。在《Small painting》中似是而非的
器皿型態，隱喻「所見非所得」的相對性。每一件作品都
是一份沉思的標本，讓空氣、水與光在物質的呼吸中，凝
結成念念不忘的文化風景。��Lydia 的作品已被多家重要機
構典藏，包括：挪威國家美術館 （Nasjonalmuseet）、卑
爾根KODE藝術博物館、挪威外交部（UD）、奧斯陸市政府
，以及特隆赫姆Nordenfjeldske裝飾藝術博物館；2024年
頒獲慕尼黑未來大師獎（Talente Preis – Meister der
Zukunft）。

Lydia Soojin Park —— �The indelible fragility, layers
after layers.

The ceramics of Lydia Soojin Park record the
sedimentation of time and emotion. Works such as
When the Sky Breathes, The Water Listens emerge
from experimental firings at both high and low
temperatures; each firing produces unpredictable
reactions, allowing the artist to explore and blur the
boundary between painting and ceramic glaze.
Cobalt-blue pigments drift across porcelain surfaces
like the faint light where the Norwegian sky meets the
sea.

In Temporal Expansion, the artist recombines
discarded porcelain shards with factory clay, refiring
them into a sculptural form resembling an archive of
time itself. Meanwhile, the ambiguous vessel-like
shapes in Small Painting hint at the relativity of
perception—what we see is not necessarily what we
receive. Each work becomes a specimen of
contemplation, where air, water, and light condense
into a cultural landscape that lingers in memory.

Park’s works are held in major collections including the
National Museum of Norway, KODE Art Museums of
Bergen, the Norwegian Ministry of Foreign Affairs, the
City of Oslo, and Nordenfjeldske Museum of
Decorative Arts in Trondheim. In 2024 she received the
Talente Prize – Meister der Zukunft in Munich.

展期 Duration｜ March 28 — April 18, 2026
開幕 Opening ｜March 28, 2026 15:00
藝術家 Artists｜Kiyoshi YAMAMOTO \ Lydia Soojin
PARK \ Daniela BERGSCHNEIDER \ Tobias
KVENDSETH \ Trine Lise NEDREAAS
地點 Venue｜Hiro Hiro Art Space
台北市中正區紹興南街10號

一千零一島 One Thousand and One IslandsKiyoshi Yamamoto：不要問我從哪裡來，我不是你的異域風情生於巴西、流動於日本血緣，最終紮根於挪威，KiyoshiYamamoto的創作是一場對「異國情調」標籤...
26/03/2026

一千零一島 One Thousand and One Islands
Kiyoshi Yamamoto：
不要問我從哪裡來，我不是你的異域風情

生於巴西、流動於日本血緣，最終紮根於挪威，Kiyoshi
Yamamoto的創作是一場對「異國情調」標籤的華麗反擊
。他拒絕被歸類為溫順的文化樣本，轉而以高飽和度的染
料與紡織張力，編織出極具重量感的政治修辭。那些色彩
鮮豔的織物捕捉了社會衝突中的溫度，將複雜的身分認同
轉化為強大的感官衝擊，迫使觀者直視那些隱藏在斑斕表
面下的文化傷痕與權力抗衡。

Yamamoto舉辦過多次個展，其中包括奧斯陸孟克美術館
、Buskerud Art Center、Heimdal
kunstforening、Norske Grafikere和Soft gallery。他的作
品已被多個重要機構典藏，包含特隆赫姆的
Nordenfjeldske 裝飾藝術博物館、卑爾根KODE藝術博物
館、挪威DNB銀行、奧斯陸市政府、卑爾根市政府以及挪
威駐巴西大使館。

Kiyoshi Yamamoto:
No matter where I’m from, I’m not your exotic.

Born in Brazil, shaped by Japanese heritage, and
ultimately rooted in Norway, Kiyoshi YAMAMOTO’s
practice is a flamboyant rebuttal to the label of
“exoticism”. Refusing to be categorised as a compliant
cultural specimen, he instead deploys intensely
saturated dyes and the tension of textiles to weave a
form of political rhetoric with palpable weight. The
vibrant fabrics capture the heat of social conflicts,
transforming complex negotiations of identity into
powerful sensory encounters that compel viewers to
confront the cultural wounds and struggles for power
concealed beneath their dazzling surfaces.

Yamamoto has held numerous solo exhibitions,
including at Oslo Munch Museum, Buskerud Art
Center, Heimdal Kunstforening, Norske Grafikere, and
Soft Gallery. His works are held in several major
collections, including Nordenfjeldske Museum of
Decorative Arts in Trondheim, KODE Art Museums of
Bergen, and the Royal Norwegian Embassy in Brazil.

展期 Duration｜ March 28 — April 18, 2026
開幕 Opening ｜March 28, 2026 15:00
藝術家 Artists｜Kiyoshi YAMAMOTO \ Lydia Soojin
PARK \ Daniela BERGSCHNEIDER \ Tobias
KVENDSETH \ Trine Lise NEDREAAS
地點 Venue｜Hiro Hiro Art Space
台北市中正區紹興南街10號

一千零一島 One Thousand and One IslandsDaniela Bergschneider：在瓷片與織物之間，尋找厭惡與美感的邊界Daniela BERGSCHNEIDER擅長挑戰材質的感知錯位，透過作品誘發觀者強烈的怪...
24/03/2026

一千零一島 One Thousand and One Islands

Daniela Bergschneider：在瓷片與織物之間，尋找厭惡與美感的邊界

Daniela BERGSCHNEIDER擅長挑戰材質的感知錯位，透過作品誘發觀者強烈的怪異／離奇（Uncanny） 感受。她將冷冽、銳利的瓷片與柔軟、褶皺的織物縫合，創造出介於生物與非生物、仿自然與人工實驗之間的未知形體。這些作品擁有如同皮膚、內臟或深海生物般的觸覺質感，喚起一種「似曾相識卻又無從名之」的騷動，挑戰觀者本能的感官反應。她故意模糊了「美」與「厭惡」的絕對邊界，在邊界模糊處共生。當觀者被其精緻的構造吸引靠近，卻又因其帶有肉欲感、侵略性的有機造型而感到本能地退縮時，這種矛盾的瞬間正是 Daniela設置的觸覺式省思——我們原有的認知邊界輕輕鬆動，在虛實開裂的縫隙中，尋得重新定義感受的可能。

Daniela BERGSCHNEIDER的作品已被多家重要機構典藏，包括：挪威國家美術館、卑爾根KODE美術館、特隆赫姆的Nordenfjeldske裝飾藝術博物館、挪威 Equinor 藝術基金會、葡萄牙紡織與服裝協會、哥德堡市政府、丹麥古爾達格爾國際陶瓷研究中心等。

Daniela Bergschneider
Searching for the boundary between beauty and
repulsion with porcelain and textile.

Daniela BERGSCHNEIDER is adept at unsettling
material perception, creating works that evoke a
powerful sense of the uncanny. By stitching together
cold, sharp porcelain fragments with soft, wrinkled
textiles, she constructs ambiguous forms that seem to
hover between organism and object, between imitation
of nature and artificial experiment.

These works possess tactile qualities reminiscent of
skin, organs, or deep-sea creatures, stirring a
sensation that feels strangely familiar yet impossible to
name. Bergschneider deliberately dissolves the
boundary between “beauty” and “repulsion”, allowing
the two to coexist in unstable equilibrium. When
viewers are drawn closer by the works’ intricate
construction, yet instinctively recoil from their fleshy,
invasive organic forms, this moment of contradiction
becomes precisely the tactile reflection the artist
intends: our cognitive boundaries loosen, and within
the fissure between illusion and reality lies the
possibility of redefining what we consider real.

Bergschneider’s works are held in major collections
including the National Museum of Norway, KODE Art
Museums of Bergen, Nordenfjeldske Museum of
Decorative Arts in Trondheim Equinor Art Programme,
Textile and Clothing Association of Portugal, City of
Gothenburg, Guldagergaard Ceramic Research Center
in Denmark.

展期 Duration｜ March 28 — April 18, 2026
開幕 Opening ｜March 28, 2026 15:00
藝術家 Artists｜Kiyoshi Yamamoto \ Lydia Soojin Park \
Daniela Bergschneider \ Tobias Kvendseth \ Trine Lise
Nedreaas
地點 Venue｜Hiro Hiro Art Space, Taipei
台北市中正區紹興南街10號

Jing You：命運花園 Syzygy 2025.12.13 - 2026.1.11
18/12/2025

Jing You：命運花園 Syzygy

2025.12.13 - 2026.1.11

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紹興南街10號
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100

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Wednesday 11:00 - 18:30
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Friday 11:00 - 18:30
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