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現地創作｜參展者
Artists
黃冠崴 Kuan-Wei Huang
《鋼鐵森林》Forest of Steel
創作材料 Material：回收廢鐵 Recycled Scrap Metal
年代 Year：2026
《鋼鐵森林》以 3D 列印的支撐結構為創作核心，運用東和鋼鐵生產過程中產生的鋼鐵餘料與廢棄構件，重新詮釋工業製程中經常被忽略的「過程之美」。在數位製造中，支撐結構是作品成形不可或缺的媒介，完成使命後卻往往被拆除、丟棄；如同工廠中的鋼材餘料，曾經支撐生產、承載重量，最終成為被遺忘的工業殘片。
藝術家將原本屬於「配角」的支撐結構轉化為作品主體，重新思考「支撐」在創造過程中的意義。作品捨棄工業生產追求效率、秩序與標準化的邏輯，透過鋼材不同角度的堆疊、穿插與延伸，使彼此支撐、相互依存，形成如植物生長般自由而有機的空間構造。
整體作品以「破土而出」的意象向上延展，宛如由鋼鐵孕育而生的金屬森林，既呼應高雄鋼鐵產業的發展，也象徵創造力自廢棄材料中重新萌芽。鏽蝕、切割與焊接留下的痕跡，成為記錄城市發展、勞動文化與材料生命歷程的語言，也讓那些默默承擔重量、鮮少被看見的結構與過程，重新成為觀看的主體。
"Forest of Steel" takes the support structures used in 3D printing as its conceptual and formal point of departure. Incorporating leftover steel and discarded components from Tung Ho Steel’s production processes, the work reinterprets the often-overlooked “beauty of process” in industrial production. In digital fabrication, support structures are essential to the formation of an object, yet once they have served their purpose, they are typically removed and discarded. Much like leftover steel in a factory, these structures once supported production and bore weight, only to eventually become forgotten industrial remnants.
The artist transforms these supporting elements, originally assigned a secondary role, into the central subject of the work, reconsidering the meaning of “support” within the creative process. Moving away from the industrial logic of efficiency, order, and standardization, the work layers, interweaves, and extends steel elements at different angles. Supporting and depending on one another, they form an organic spatial structure that evokes the free growth of plants.
Extending upward as if breaking through the ground, the work resembles a metal forest emerging from steel. It echoes the development of Kaohsiung’s steel industry while suggesting the regeneration of creativity through discarded materials. Traces of rust, cutting, and welding become a language that records the city’s development, its culture of labor, and the life cycle of materials, bringing structures and processes that quietly bear weight yet often remain unseen back into focus.
畢業於國立臺灣藝術大學雕塑學系，並取得美術學系碩士學位。長期以金屬雕塑、數位製造與複合媒材為主要創作方向，結合傳統雕塑工藝與當代數位技術，探索材料、結構與空間之間的關係，透過金屬媒材的塑造，展現雕塑在形式、力量與場域中的多元可能。
除藝術創作外，亦投入雕塑教育與數位製造推廣，現為冶人藝術設計有限公司共同創辦人、國立臺灣藝術大學雕塑學系兼任講師，致力於推動傳統工藝與數位製造技術的跨域整合。
作品曾獲宜蘭獎、桃源創作獎等獎項肯定，並多次入選全國重要美術競賽，曾於臺灣、日本等地展出，持續透過雕塑創作回應當代藝術與公共空間的發展。
Graduated from the Department of Sculpture at National Taiwan University of Arts (NTUA) and received a master’s degree in Fine Arts from the same university. Working primarily with metal sculpture, digital fabrication, and mixed media, the artist combines traditional sculptural techniques with contemporary digital technologies to explore relationships between material, structure, and space.
The artist is a co-founder of HO-YA REN ART & DESIGN and an adjunct lecturer in the Department of Sculpture at NTUA, actively promoting the integration of traditional craftsmanship and digital fabrication.
The artist has received the Yilan Award and Taoyuan Creation Award, among other honors, and has exhibited works in Taiwan and Japan. The practice continues to explore the possibilities of sculpture within contemporary art and public space.
