At the beginning of 2022, I was honored to be recommended by Teacher Jiang Xun, and the Taiwan Good Foundation invited me to stay in Chi-Shang for a month for artistic creation. As my recent works have been mainly focused on large-scale stainless steel public art, I have had fewer opportunities to create with brush and ink since graduating from Donghai University nearly 30 years ago, majoring in traditional Chinese painting. I have always heard about Chi-Shang's pure and simple land, so I decided to bring my simple tools and wait for inspiration to be triggered by the local customs and scenery.
I settled in an old farmhouse on a small path adjacent to the paddy fields, facing the towering mountains and vast fields. It was already past the beginning of winter and the paddy fields had already been flooded and were ready for planting. The reflection of the mountains and clouds and the light on the water combined to create an amazing spectacle of nature, filling me with joy.
In the early morning, the chirping of birds signaled the beginning of a new day, and I could see a hint of light shining through the small gaps in the window. I couldn't wait to step out and explore this land that was just waking up.
The clouds and mist of the mountain range surrounded by the valley shone through the slim haze above the vast rice fields. In this place, the energy fields of earth, clouds, wind, and sun are flowing peacefully and harmoniously.
Walking on the field path, I saw the flourishing weeds and flowers and the constantly flowing clear spring water in the ditch, which supports all living things. This magnificent sight was echoed in my award-winning sculpture, "Water Spirit, Jade Soul," which won the Platinum Award in the Public Art Category of the 2020 A’ Design Award & Competition in Milan, Italy. This 8-meter sculpture used the imagery of water waves flowing and energy flowing to balance the hard pressure created by the glass curtain walls of skyscrapers in the city. Just like the scenery of Chi-Shang, it brings people back to their original heart with abundant energy.
The inspiration nurtured by the spirit of the land flowed back into my work, and unadorned ink paintings were the best medium to express it. I used the clear spring water from the mountain and light ink made from pine smoke to create the paint. The ink flowed naturally into the fibers of the grass, presenting a natural and unpretentious atmosphere. The process of creation was less about "control" and more about letting the "uncontrollable" ink strokes flow naturally wherever the brush did not reach.
The roof leaks are not just about the flow of water; they also represent the flow of time, the transformation of space, and the movement of everything in the universe. It is like a mirror reflecting the state of the observer and inviting them to look within themselves for a moment of tranquility.
Our urban lives often exist in closed environments, and we are used to being isolated from the energy of nature, losing touch with the changing seasons. Thoughts in our minds are often one-sided and fragmented, with a lack of coherence and flowing thoughts because we have lost touch with the natural world and its rhythms, leading to information overload but spiritual emptiness.
During my stay in Chi-Shang, I liked to walk on the field path, taking a leisurely stroll among the vast rice fields, sometimes on the dirt roads, sometimes on rocky paths, and through various weeds and flowers. These random and spontaneous lives aroused my curiosity, and I was reminded of the phrase in the Leng Yan Jing: "birth is due to thought, and extinction is due to the removal of matter." Life is "due to thought," and artistic creation is also a process of thought from perception to cognition, from raising one's level of understanding and expanding one's dimensions, similar to spiritual practice. "Extinction is due to the removal of matter," which means how to not be tempted by appearances, to see through the essence of life, and to express the essence of one's feelings in one's artistic creations, rather than simply reproducing appearances.
In this residency period, during the flourishing period of ecological development with abundant energy, I experienced the pulsing of nature and settled my mind and body in the flow of my heart; I regained my passion for life and my original intention of being human.
For many modern people, they may not fully appreciate the beauty and power of natural surroundings. However, for Tsai, the rural landscapes surrounding his residency provide endless inspiration for his work. He takes long walks and hikes, observes the changing colors of the sky and the subtle movements of nature, and meditates to connect with the energy of the earth.
Through his ink paintings, Tsai aims to capture the essence of nature and convey his own feelings and experiences in response to the environment. He uses simple brush strokes and minimal colors to create a sense of tranquility and harmony, allowing viewers to connect with the natural world and find their own inner peace.
Tsai's experience in the Chishang residency project has had a profound impact on his artistic practice, inspiring him to shift his focus from creating large-scale public art to creating more intimate and personal works that express his connection with nature. He hopes that his art can inspire others to appreciate and protect the natural environment, and to lead a more mindful and harmonious way of life.
I settled in an old farmhouse on a small path adjacent to the paddy fields, facing the towering mountains and vast fields. It was already past the beginning of winter and the paddy fields had already been flooded and were ready for planting. The reflection of the mountains and clouds and the light on the water combined to create an amazing spectacle of nature, filling me with joy.
In the early morning, the chirping of birds signaled the beginning of a new day, and I could see a hint of light shining through the small gaps in the window. I couldn't wait to step out and explore this land that was just waking up.
The clouds and mist of the mountain range surrounded by the valley shone through the slim haze above the vast rice fields. In this place, the energy fields of earth, clouds, wind, and sun are flowing peacefully and harmoniously.
Walking on the field path, I saw the flourishing weeds and flowers and the constantly flowing clear spring water in the ditch, which supports all living things. This magnificent sight was echoed in my award-winning sculpture, "Water Spirit, Jade Soul," which won the Platinum Award in the Public Art Category of the 2020 A’ Design Award & Competition in Milan, Italy. This 8-meter sculpture used the imagery of water waves flowing and energy flowing to balance the hard pressure created by the glass curtain walls of skyscrapers in the city. Just like the scenery of Chi-Shang, it brings people back to their original heart with abundant energy.
The inspiration nurtured by the spirit of the land flowed back into my work, and unadorned ink paintings were the best medium to express it. I used the clear spring water from the mountain and light ink made from pine smoke to create the paint. The ink flowed naturally into the fibers of the grass, presenting a natural and unpretentious atmosphere. The process of creation was less about "control" and more about letting the "uncontrollable" ink strokes flow naturally wherever the brush did not reach.
The roof leaks are not just about the flow of water; they also represent the flow of time, the transformation of space, and the movement of everything in the universe. It is like a mirror reflecting the state of the observer and inviting them to look within themselves for a moment of tranquility.
Our urban lives often exist in closed environments, and we are used to being isolated from the energy of nature, losing touch with the changing seasons. Thoughts in our minds are often one-sided and fragmented, with a lack of coherence and flowing thoughts because we have lost touch with the natural world and its rhythms, leading to information overload but spiritual emptiness.
During my stay in Chi-Shang, I liked to walk on the field path, taking a leisurely stroll among the vast rice fields, sometimes on the dirt roads, sometimes on rocky paths, and through various weeds and flowers. These random and spontaneous lives aroused my curiosity, and I was reminded of the phrase in the Leng Yan Jing: "birth is due to thought, and extinction is due to the removal of matter." Life is "due to thought," and artistic creation is also a process of thought from perception to cognition, from raising one's level of understanding and expanding one's dimensions, similar to spiritual practice. "Extinction is due to the removal of matter," which means how to not be tempted by appearances, to see through the essence of life, and to express the essence of one's feelings in one's artistic creations, rather than simply reproducing appearances.
In this residency period, during the flourishing period of ecological development with abundant energy, I experienced the pulsing of nature and settled my mind and body in the flow of my heart; I regained my passion for life and my original intention of being human.
For many modern people, they may not fully appreciate the beauty and power of natural surroundings. However, for Tsai, the rural landscapes surrounding his residency provide endless inspiration for his work. He takes long walks and hikes, observes the changing colors of the sky and the subtle movements of nature, and meditates to connect with the energy of the earth.
Through his ink paintings, Tsai aims to capture the essence of nature and convey his own feelings and experiences in response to the environment. He uses simple brush strokes and minimal colors to create a sense of tranquility and harmony, allowing viewers to connect with the natural world and find their own inner peace.
Tsai's experience in the Chishang residency project has had a profound impact on his artistic practice, inspiring him to shift his focus from creating large-scale public art to creating more intimate and personal works that express his connection with nature. He hopes that his art can inspire others to appreciate and protect the natural environment, and to lead a more mindful and harmonious way of life.
To eliminate afflictions, one must see through the appearances 2022
Ink on paper 48.5 x 90 cm
Appearances are like a mirror, reflecting what one thinks.
滅從色除 2022
水墨 48.5 x 90 cm
色像面鏡子
呈現你以為的樣子
Ink on paper 48.5 x 90 cm
Appearances are like a mirror, reflecting what one thinks.
滅從色除 2022
水墨 48.5 x 90 cm
色像面鏡子
呈現你以為的樣子
Chishang Huge Mountain 2022
Ink on paper 65 x 95 cm
Chishang Huge Mountain
Always shrouded in mist
Nourishing and fulfilling
Majestic in presence
池上大山 2022
水墨 65 x 95 cm
池上大山
總是水氣瀰漫
滋潤飽滿
氣勢渾厚
Ink on paper 65 x 95 cm
Chishang Huge Mountain
Always shrouded in mist
Nourishing and fulfilling
Majestic in presence
池上大山 2022
水墨 65 x 95 cm
池上大山
總是水氣瀰漫
滋潤飽滿
氣勢渾厚
Jiangshan 2022
"Jiangshan" is a Chinese word that usually refers to the vast natural landscapes such as mountains and rivers, and can also refer to the territory, borders, and famous sites of a country or region.
Ink on paper 27.5 x 35 cm
The beauty of the landscape is as enchanting as a beautiful woman.
江山 2022
水墨 27.5 x 35 cm
江山如此多嬌
"Jiangshan" is a Chinese word that usually refers to the vast natural landscapes such as mountains and rivers, and can also refer to the territory, borders, and famous sites of a country or region.
Ink on paper 27.5 x 35 cm
The beauty of the landscape is as enchanting as a beautiful woman.
江山 2022
水墨 27.5 x 35 cm
江山如此多嬌
The Misty Mountains and Rainfalls 2022
Ink on paper 27.5 x 35 cm
All Encompassed by Silence
空山雲雨 2022
水墨 27.5 x 35 cm
盡在不言中
Ink on paper 27.5 x 35 cm
All Encompassed by Silence
空山雲雨 2022
水墨 27.5 x 35 cm
盡在不言中
Opening up the Heavens 2022
Ink on paper 89 x 96 cm
Gazing at the Starry Sky from Afar
Often Pondering,
What Wonders Lie Beyond?
開天 2022
水墨 89 x 96 cm
遙望著星空
常想著
天外有天
是怎樣的景象
Ink on paper 89 x 96 cm
Gazing at the Starry Sky from Afar
Often Pondering,
What Wonders Lie Beyond?
開天 2022
水墨 89 x 96 cm
遙望著星空
常想著
天外有天
是怎樣的景象
The creation of the world 2022
Ink on paper 89 x 96 cm
What kind of causes and conditions
Have brought about
The formation of heaven and earth
And the creation of the physical body.
闢地 2022
水墨 89 x 96 cm
什麼樣的因緣聚合
成就了天地
成就了肉身
Ink on paper 89 x 96 cm
What kind of causes and conditions
Have brought about
The formation of heaven and earth
And the creation of the physical body.
闢地 2022
水墨 89 x 96 cm
什麼樣的因緣聚合
成就了天地
成就了肉身
Taiji 2022
Ink on paper 51 x 96.5 cm
The Manifest and Non-Manifest Create and Destroy
太極 2022
水墨 51 x 96.5 cm
有形無形的生滅
Ink on paper 51 x 96.5 cm
The Manifest and Non-Manifest Create and Destroy
太極 2022
水墨 51 x 96.5 cm
有形無形的生滅
Chaos 2022
Ink on paper 60.5 x 72.8 cm
How the Formless Aggregates into Form
How the Form Takes Shape, Then Dissolves Back into the Formless
混沌 2022
水墨 60.5 x 72.8 cm
無形如何聚合成有形
有形如何化為無形
Ink on paper 60.5 x 72.8 cm
How the Formless Aggregates into Form
How the Form Takes Shape, Then Dissolves Back into the Formless
混沌 2022
水墨 60.5 x 72.8 cm
無形如何聚合成有形
有形如何化為無形
Primordial Chaos 2022
Ink on paper 65 x 95 cm
What Should Life Grow into?
What Should We Live Like?
Who Decides?
洪荒 2022
水墨 65 x 95 cm
生命該長成什麼樣
該活成什麼樣
是誰決定的
Ink on paper 65 x 95 cm
What Should Life Grow into?
What Should We Live Like?
Who Decides?
洪荒 2022
水墨 65 x 95 cm
生命該長成什麼樣
該活成什麼樣
是誰決定的
The original appearance 2022
Ink on paper 72.8 x 60.5 cm
What is our original appearance
And how is it?
本來面目 2022
水墨 72.8 x 60.5 cm
我們本來的面目
是如何?
Ink on paper 72.8 x 60.5 cm
What is our original appearance
And how is it?
本來面目 2022
水墨 72.8 x 60.5 cm
我們本來的面目
是如何?
Same root and dust 2022
Ink on paper 39 x 54 cm
We grow from where we come from,
And we thrive where we belong.
We create the world around us,
And the world shapes us in turn.
根塵同源 2022
水墨 39 x 54 cm
我們從哪裡長出來的
就適合在哪裡生存
我們創造世界
世界塑造我們
Ink on paper 39 x 54 cm
We grow from where we come from,
And we thrive where we belong.
We create the world around us,
And the world shapes us in turn.
根塵同源 2022
水墨 39 x 54 cm
我們從哪裡長出來的
就適合在哪裡生存
我們創造世界
世界塑造我們
Mountain and lake 2022
Ink on paper 30 x 96.5 cm
quiet and serene for miles.
山湖 2022
水墨 30 x 96.5 cm
靜遠悠長
Ink on paper 30 x 96.5 cm
quiet and serene for miles.
山湖 2022
水墨 30 x 96.5 cm
靜遠悠長
Rural Life 2022
Ink on paper 39 x 54 cm
And the intangible protects us.
田居 2022
水墨 39 x 54 cm
大地滋養著我們
無形護佑著我們
Ink on paper 39 x 54 cm
And the intangible protects us.
田居 2022
水墨 39 x 54 cm
大地滋養著我們
無形護佑著我們
The mountain mist and fog embrace 2022
Ink on paper 44 x 148 cm
The mountain mist and fog embrace
soft like a tender lover's touch.
Enveloping, caressing, the mountain range stands steadfast and resolute.
山嵐抱 2022
水墨 44 x 148 cm
雲霧繚繞的山嵐
像溫柔的戀人
環抱愛撫著堅毅挺立的大山
Ink on paper 44 x 148 cm
The mountain mist and fog embrace
soft like a tender lover's touch.
Enveloping, caressing, the mountain range stands steadfast and resolute.
山嵐抱 2022
水墨 44 x 148 cm
雲霧繚繞的山嵐
像溫柔的戀人
環抱愛撫著堅毅挺立的大山
Dragon Clouds 2022
Ink on paper 60.5 x 72.8 cm
Water vapor coalesces,
Wind shapes the form,
Unstoppable momentum.
龍雲 2022
水墨 60.5 x 72.8 cm
水氣聚合
風動成形
勢不可擋
Ink on paper 60.5 x 72.8 cm
Water vapor coalesces,
Wind shapes the form,
Unstoppable momentum.
龍雲 2022
水墨 60.5 x 72.8 cm
水氣聚合
風動成形
勢不可擋
The world exist only Through our perception 2022
Ink on paper 72.8 x 60.5 cm
Is the world
Only as we perceive it,
Based on our awareness?
生因識有 2022
水墨 72.8 x 60.5 cm
世界是否只是
我們的感知?
Ink on paper 72.8 x 60.5 cm
Is the world
Only as we perceive it,
Based on our awareness?
生因識有 2022
水墨 72.8 x 60.5 cm
世界是否只是
我們的感知?
Conceal one's talents and bide one's time 2022
Ink on paper 27.5 x 35 cm
Storms and winds are not merciless,
Just right to recuperate and rest.
韜光養晦 2022
水墨 27.5 x 35 cm
風雨不是無情
正好休養生息
Ink on paper 27.5 x 35 cm
Storms and winds are not merciless,
Just right to recuperate and rest.
韜光養晦 2022
水墨 27.5 x 35 cm
風雨不是無情
正好休養生息
Like a Tiger 2022
Ink on paper 96.5 x 117.5 cm
I often recall the words of an elderly hunter from the Bunun tribe in Xinguang Village:
In the forest, we must maintain a sense of gratitude and caution, but we cannot be afraid. Once we give in to fear, we are finished!
如虎 2022
水墨 96.5 x 117.5 cm
常想起新武部落布農族老獵人說的話:
在森林中要保持感恩戒慎,但不能害怕,人一害怕就廢了!
Ink on paper 96.5 x 117.5 cm
I often recall the words of an elderly hunter from the Bunun tribe in Xinguang Village:
In the forest, we must maintain a sense of gratitude and caution, but we cannot be afraid. Once we give in to fear, we are finished!
如虎 2022
水墨 96.5 x 117.5 cm
常想起新武部落布農族老獵人說的話:
在森林中要保持感恩戒慎,但不能害怕,人一害怕就廢了!
Sun Moon Stars 2023
Ink on paper 59 x 96.5 cm
日月星辰 2023
水墨 59 x 96.5 cm
Ink on paper 59 x 96.5 cm
日月星辰 2023
水墨 59 x 96.5 cm
Starry Constellations of Time 2023
Ink on paper 59 x 96.5 cm
星宿歲月 2023
水墨 59 x 96.5 cm
Ink on paper 59 x 96.5 cm
星宿歲月 2023
水墨 59 x 96.5 cm
Majestic Mountains and Rivers at Cloud's Peak 2023
Ink on paper 88 x 95 cm
雲頂山河 2023
水墨 88 x 95 cm
Ink on paper 88 x 95 cm
雲頂山河 2023
水墨 88 x 95 cm
2022年初承蒙蔣勳老師推薦,台灣好基金會邀請我在池上駐村創作一個月。
由於近年來的作品是以大型不鏽鋼公共藝術為主,從東海美術畢業至今近三十個年頭,主修水墨畫的我以筆墨創作的機會日漸減少,久聞池上這片土地的純粹質樸,便決定帶著簡單的筆墨工具前往,靜待被當地風土人情觸發的靈感。
住進稻田小路旁最邊間的老農舍,獨居面對縱谷大山與大片田地,節氣已過小寒,稻田休耕注水準備插秧,水田映照著大山雲嵐、水光天色,令人心曠神怡。
清晨時分,鳥群嘰嘰喳喳的報曉,窗縫透出微光,我就迫不急待的出門探訪這剛甦醒的土地。
縱谷平原的雲霧山嵐繚繞著遠方山峰,透天光探照在薄霧瀰漫的大片水田之上。
地氣、雲氣、風動、日移,在天地中、山水間、流轉著平和巨大的能量場域。
走在田埂上看著生機蓬發的雜草小花、溝渠裡湍流不息的清澈泉水,供養著萬物生息。
這般動人的景象,正與我2020年義大利米蘭國際設計大賽A’ design award & competition 公共藝術類白金首奬作品「水作精神玉作魂」的底蘊相通,這座長達8米的巨型雕塑正是以水波流動、能量流轉的意象,來平衡城市中玻璃圍幕大樓群形成的剛硬壓迫感。
正如池上風光一樣,以飽滿的能量帶人回歸本來初心。
受土地靈性滋養的感動回流至作品之中,樸實無華的水墨便是合適的媒材,創作時利用來自大山的清澈泉水,調合來自松煙的輕墨,水墨沁透流竄於草本纖維之中,呈現渾然天成的墨韻,創作的過程少「控制」,在筆鋒未至之處任由「不可控」的水韻墨痕沁透流竄,有物我相忘於心流的感受。
屋漏痕,不只是水流動的痕跡,水痕裡有時間的流逝、空間的轉化、物換星移的流動,可以像面鏡子映照著觀者的狀態,向內看的片刻寧靜。
都會的生活常處於封閉的環境,我們習慣與大自然能量隔離,對四時遞嬗失去感受。腦中的念頭往往片面且零散,缺乏連貫性、流動的思維,這正是因為我們與大自然的脈絡脫節,接不上地氣,滿腦子資訊卻心靈空虛。
在池上的日子我常喜歡走田埂,穿梭於大片水田間慢步到街上,有土堆的、有石堆的田埂,長著各種不同的雜草小花,很有趣。這些隨機自發的生命引起我的好奇,讓我想起楞嚴經中的句子:“生因識有、滅從色除”。生命是“生因識有”,創作也是識有的過程,由感受到認知,再到境界的提升,甚至維度的開展,如同修行,是開智慧的過程。“滅從色除”,則是如何不被表象迷惑?看透生命的本質,創作上如何表達感受的本質,而不是再現表象?
這次駐村的創作期間在生機勃發、開濶充滿能量的生態裡,體會大自然脈動,安住身心於心流之中,找回生命的熱情與生而為人的初衷。
對許多現代人來說,可能無法完全欣賞到自然環境的美麗和力量,對此蔡育田對立足於駐村周圍的鄉村風景提供了無盡的靈感。他常常漫步於此,觀察天空變幻的色彩和微妙的自然動靜,冥想來與大地的能量連結。
透過他的墨畫,旨在捕捉大自然的精髓,並傳達他對環境的感受和經歷。他使用簡單的筆觸和極簡的色彩創造出寧靜和諧的感覺,讓觀眾與自然世界聯繫並找到自己的內心平靜。
駐村項目對蔡育田的藝術實踐產生了深遠影響,啟發他將焦點從創造大型公共藝術轉向創造更加私密和個人的作品,表達他與自然的聯繫。他希望他的藝術作品可以啟發他人欣賞和保護自然環境,並帶領更加關注和和諧的生活方式。
由於近年來的作品是以大型不鏽鋼公共藝術為主,從東海美術畢業至今近三十個年頭,主修水墨畫的我以筆墨創作的機會日漸減少,久聞池上這片土地的純粹質樸,便決定帶著簡單的筆墨工具前往,靜待被當地風土人情觸發的靈感。
住進稻田小路旁最邊間的老農舍,獨居面對縱谷大山與大片田地,節氣已過小寒,稻田休耕注水準備插秧,水田映照著大山雲嵐、水光天色,令人心曠神怡。
清晨時分,鳥群嘰嘰喳喳的報曉,窗縫透出微光,我就迫不急待的出門探訪這剛甦醒的土地。
縱谷平原的雲霧山嵐繚繞著遠方山峰,透天光探照在薄霧瀰漫的大片水田之上。
地氣、雲氣、風動、日移,在天地中、山水間、流轉著平和巨大的能量場域。
走在田埂上看著生機蓬發的雜草小花、溝渠裡湍流不息的清澈泉水,供養著萬物生息。
這般動人的景象,正與我2020年義大利米蘭國際設計大賽A’ design award & competition 公共藝術類白金首奬作品「水作精神玉作魂」的底蘊相通,這座長達8米的巨型雕塑正是以水波流動、能量流轉的意象,來平衡城市中玻璃圍幕大樓群形成的剛硬壓迫感。
正如池上風光一樣,以飽滿的能量帶人回歸本來初心。
受土地靈性滋養的感動回流至作品之中,樸實無華的水墨便是合適的媒材,創作時利用來自大山的清澈泉水,調合來自松煙的輕墨,水墨沁透流竄於草本纖維之中,呈現渾然天成的墨韻,創作的過程少「控制」,在筆鋒未至之處任由「不可控」的水韻墨痕沁透流竄,有物我相忘於心流的感受。
屋漏痕,不只是水流動的痕跡,水痕裡有時間的流逝、空間的轉化、物換星移的流動,可以像面鏡子映照著觀者的狀態,向內看的片刻寧靜。
都會的生活常處於封閉的環境,我們習慣與大自然能量隔離,對四時遞嬗失去感受。腦中的念頭往往片面且零散,缺乏連貫性、流動的思維,這正是因為我們與大自然的脈絡脫節,接不上地氣,滿腦子資訊卻心靈空虛。
在池上的日子我常喜歡走田埂,穿梭於大片水田間慢步到街上,有土堆的、有石堆的田埂,長著各種不同的雜草小花,很有趣。這些隨機自發的生命引起我的好奇,讓我想起楞嚴經中的句子:“生因識有、滅從色除”。生命是“生因識有”,創作也是識有的過程,由感受到認知,再到境界的提升,甚至維度的開展,如同修行,是開智慧的過程。“滅從色除”,則是如何不被表象迷惑?看透生命的本質,創作上如何表達感受的本質,而不是再現表象?
這次駐村的創作期間在生機勃發、開濶充滿能量的生態裡,體會大自然脈動,安住身心於心流之中,找回生命的熱情與生而為人的初衷。
對許多現代人來說,可能無法完全欣賞到自然環境的美麗和力量,對此蔡育田對立足於駐村周圍的鄉村風景提供了無盡的靈感。他常常漫步於此,觀察天空變幻的色彩和微妙的自然動靜,冥想來與大地的能量連結。
透過他的墨畫,旨在捕捉大自然的精髓,並傳達他對環境的感受和經歷。他使用簡單的筆觸和極簡的色彩創造出寧靜和諧的感覺,讓觀眾與自然世界聯繫並找到自己的內心平靜。
駐村項目對蔡育田的藝術實踐產生了深遠影響,啟發他將焦點從創造大型公共藝術轉向創造更加私密和個人的作品,表達他與自然的聯繫。他希望他的藝術作品可以啟發他人欣賞和保護自然環境,並帶領更加關注和和諧的生活方式。