Resume 簡歷
2024 義大利 A' DESIGN AWARD & COMPETITION GRAND JURY MEMBER 評審團成員
2023 LONDON ART BIENNALE INTERNATIONAL CONFEDERATION OF ART CRITICS AWARD
倫敦藝術雙年展國際藝術評論聯合總會大奬得主
2023 ARTEXPO NEW YORK BEST SCULPTURE AWARD WINNER 紐約藝術博覽會 最佳雕塑獎得主
2020 義大利國際大賽 A' DESIGN AWARD & COMPETITION PLATINUM WINNER 公共藝術類白金首獎
2000 行政院財團法人國家同步輻射研究中心行政大樓 公共藝術首獎
2023 CRYSTAL WINDOW & DOOR SYSTEMS, LTD. NY 收藏公共藝術作品設置於美國紐約上州CRYSTAL PARK
2023 CRYSTAL WINDOW & DOOR SYSTEMS, LTD. NY 全額贊助於美國紐約 ARTEXPO NEW YORK Solo Exhibition.
2023 倫敦藝術雙年展得奬作品：金牛奔騰於主辦倫敦藝術雙年展（London Art Biennale）的Gagliardi Gallery展出
London Art BiennaleAward-winning artwork at the Biennale: Galloping Golden Ox is exhibited at Gagliardi Gallery,
the organizer of the London Art Biennale. （509 King’s Road, London, SW10 0TX, United Kingdom.）
2020 獲獎作品在義大利MOOD設計博物館 del Design - Via Bellinzona 展出
2022 台灣工藝中心邀請於法國巴黎MAISON & OBJET AND MORE展出婆娑嶼作品
2022 台灣工藝中心邀請於美國華府雙橡園「台灣工藝形象展』展出月影燈作品
2022 受邀於新竹132糧倉「居心流』個展
2022 受邀於竹北半畝院子「居心流』個展
2022 受邀於台中大河美術畫廊「居心流』個展
2022 受邀至台灣好基金會池上藝術村駐村創作
2021 OneOffs NFT 國際藝術博覽會 大河美術聯展
2021 ART TAICHUNG 台中藝術博覽會 大河美術聯展
2021 ART TAIPEI 台北國際藝術博覽會 大河美術聯展
2020 ART TAIPEI 台北國際藝術博覽會得獎派對大河美術聯展
2019 客委會-浪漫台三線樟之細路獅潭段地景藝術 藝術總監
2016 台灣燈會-科技新世界燈區之智慧雲端公共藝術
2010 台北市花博夢想館展場空間藝術總監
2001 營建署「新竹縣社區規劃師種籽培訓暨建制計劃案」 總計劃負責人
2001 行政院文化建會 「美學當家〜美化環境參與行動」計劃 專案協同主持人
1998 中華民國營造學會 「校園我的家」計劃 專案核心老師
2023 LONDON ART BIENNALE INTERNATIONAL CONFEDERATION OF ART CRITICS AWARD
倫敦藝術雙年展國際藝術評論聯合總會大奬得主
2023 ARTEXPO NEW YORK BEST SCULPTURE AWARD WINNER 紐約藝術博覽會 最佳雕塑獎得主
2020 義大利國際大賽 A' DESIGN AWARD & COMPETITION PLATINUM WINNER 公共藝術類白金首獎
2000 行政院財團法人國家同步輻射研究中心行政大樓 公共藝術首獎
2023 CRYSTAL WINDOW & DOOR SYSTEMS, LTD. NY 收藏公共藝術作品設置於美國紐約上州CRYSTAL PARK
2023 CRYSTAL WINDOW & DOOR SYSTEMS, LTD. NY 全額贊助於美國紐約 ARTEXPO NEW YORK Solo Exhibition.
2023 倫敦藝術雙年展得奬作品：金牛奔騰於主辦倫敦藝術雙年展（London Art Biennale）的Gagliardi Gallery展出
London Art BiennaleAward-winning artwork at the Biennale: Galloping Golden Ox is exhibited at Gagliardi Gallery,
the organizer of the London Art Biennale. （509 King’s Road, London, SW10 0TX, United Kingdom.）
2020 獲獎作品在義大利MOOD設計博物館 del Design - Via Bellinzona 展出
2022 台灣工藝中心邀請於法國巴黎MAISON & OBJET AND MORE展出婆娑嶼作品
2022 台灣工藝中心邀請於美國華府雙橡園「台灣工藝形象展』展出月影燈作品
2022 受邀於新竹132糧倉「居心流』個展
2022 受邀於竹北半畝院子「居心流』個展
2022 受邀於台中大河美術畫廊「居心流』個展
2022 受邀至台灣好基金會池上藝術村駐村創作
2021 OneOffs NFT 國際藝術博覽會 大河美術聯展
2021 ART TAICHUNG 台中藝術博覽會 大河美術聯展
2021 ART TAIPEI 台北國際藝術博覽會 大河美術聯展
2020 ART TAIPEI 台北國際藝術博覽會得獎派對大河美術聯展
2019 客委會-浪漫台三線樟之細路獅潭段地景藝術 藝術總監
2016 台灣燈會-科技新世界燈區之智慧雲端公共藝術
2010 台北市花博夢想館展場空間藝術總監
2001 營建署「新竹縣社區規劃師種籽培訓暨建制計劃案」 總計劃負責人
2001 行政院文化建會 「美學當家〜美化環境參與行動」計劃 專案協同主持人
1998 中華民國營造學會 「校園我的家」計劃 專案核心老師
Born in Taoyuan, Taiwan in 1968,
TSAI Iutian graduated from the Department of Fine Arts at Tunghai University under the tutelage of Chiang Hsun.
While working at the National Tsing Hua University Art Center, during the curatorial period,
he explored the space and time context positioning of artistic creations.
TSAI also served as a community planner engaged in overall community building,
and experienced the subtle relationship of interaction between humans and the environment,
which prompted him to work on public art projects.
His famous works in Taiwan includes public art in front of the Administration Building at National Synchrotron Radiation Research Center in Hsinchu City,
smart cloud public art in New Tech Lights Area at 2016 Taiwan Lantern Festival,
and land art in Shitan Section of 2019 Taiwan Romantic Route 3 Art Festival held by Hakka Affairs Council, etc.
Furthermore, he once visited a Vipassana Meditation Center in India
and a Manjughosha Buddhist Camp in London for meditation,
exploring the mystery of internal and external energetic balance.
Inspired by mentor Chiang Hsun’s literary writing,
TSAI created a large-scale sculpture titled “Flow with the Spirit of Water.”
The public art became the first in Taiwan to garner
the Platinum A' Design Award in the Arts, Crafts and Ready-Made Design Category in 2020.
Touted as the “Oscars of the Design Circle”,
the prestigious A' Design Award is presented only to the top 1% of artistic talents.
In addition to being listed in the world design rankings,
the information about the honor will be translated to 109 languages
and promoted to 195 countries to let the whole world see the glory of Taiwan!
The jury gave rave reviews to Flow with the Spirit of Water,
stating that the design has reached a level of exemplary perfection.
TSAI Iutian states that the confused thoughts of the crowds and the visible
and invisible chaotic energy in the space may cause people to feel irritable.
However, his “Flow Art Sculpture” has a transformative function.
By guiding, grooming, purifying the negative energy and strengthening the positive energy “chi” of a space,
his sculptures can let people focus on active, pleasant and peaceful outcomes.
With a subtle shift in their environment,
the viewer is guided to an awareness of the balance between their inner
and external energy, and allowed to rest there and to settle in.
In early 2022, the artist was recommended by Professor Chiang Hsun to participate in a one-month residency project in Chishang organized by Taiwan Good Foundation. While the artist's previous works mainly focused on large-scale stainless steel public art, this time Iutian Tsai immersed himself in the local customs and experiences with simple ink tools.
Living alone in an old farmhouse located at the end of a small path next to the Longziwei rice paddies, Tsai is surrounded by the energies of the earth, clouds, wind, and sun, enveloped in a peaceful and vast energy field between heaven and earth, mountains and water. Facing the mountains and vast fields of the valley, the rice paddies reflect the colors of the sky and clouds, and while being awed by nature, Tsai ponders how to see through the superficial and express the essence of one's feelings, rather than simply reproducing what is seen.
People living in urban environments are often disconnected from nature, lack sensitivity to seasonal changes, and experience feelings that are often one-sided and disjointed. "Flow with the Mindfulness of Living" means experiencing the pulse of life's vigor and energy in nature, allowing viewers to immerse themselves in a state of mind for rediscovering life's passion and original intent.
During the residency, the artist found inspiration and materials from everything around him. For example, a leaking roof was not just the trace of water flow to him, but also contained the passing of time, the transformation of space, and the flow of things. He used clear spring water mixed with pine smoke to create an ink of natural beauty, with a creative process that involved minimal "control." By allowing the "uncontrollable" water and ink to flow freely and imbue the fibers of the paper, the water, ink, paper, and brush interacted gently to create a sense of forgetting oneself in a state of mindfulness during the creative process.
TSAI Iutian graduated from the Department of Fine Arts at Tunghai University under the tutelage of Chiang Hsun.
While working at the National Tsing Hua University Art Center, during the curatorial period,
he explored the space and time context positioning of artistic creations.
TSAI also served as a community planner engaged in overall community building,
and experienced the subtle relationship of interaction between humans and the environment,
which prompted him to work on public art projects.
His famous works in Taiwan includes public art in front of the Administration Building at National Synchrotron Radiation Research Center in Hsinchu City,
smart cloud public art in New Tech Lights Area at 2016 Taiwan Lantern Festival,
and land art in Shitan Section of 2019 Taiwan Romantic Route 3 Art Festival held by Hakka Affairs Council, etc.
Furthermore, he once visited a Vipassana Meditation Center in India
and a Manjughosha Buddhist Camp in London for meditation,
exploring the mystery of internal and external energetic balance.
Inspired by mentor Chiang Hsun’s literary writing,
TSAI created a large-scale sculpture titled “Flow with the Spirit of Water.”
The public art became the first in Taiwan to garner
the Platinum A' Design Award in the Arts, Crafts and Ready-Made Design Category in 2020.
Touted as the “Oscars of the Design Circle”,
the prestigious A' Design Award is presented only to the top 1% of artistic talents.
In addition to being listed in the world design rankings,
the information about the honor will be translated to 109 languages
and promoted to 195 countries to let the whole world see the glory of Taiwan!
The jury gave rave reviews to Flow with the Spirit of Water,
stating that the design has reached a level of exemplary perfection.
TSAI Iutian states that the confused thoughts of the crowds and the visible
and invisible chaotic energy in the space may cause people to feel irritable.
However, his “Flow Art Sculpture” has a transformative function.
By guiding, grooming, purifying the negative energy and strengthening the positive energy “chi” of a space,
his sculptures can let people focus on active, pleasant and peaceful outcomes.
With a subtle shift in their environment,
the viewer is guided to an awareness of the balance between their inner
and external energy, and allowed to rest there and to settle in.
In early 2022, the artist was recommended by Professor Chiang Hsun to participate in a one-month residency project in Chishang organized by Taiwan Good Foundation. While the artist's previous works mainly focused on large-scale stainless steel public art, this time Iutian Tsai immersed himself in the local customs and experiences with simple ink tools.
Living alone in an old farmhouse located at the end of a small path next to the Longziwei rice paddies, Tsai is surrounded by the energies of the earth, clouds, wind, and sun, enveloped in a peaceful and vast energy field between heaven and earth, mountains and water. Facing the mountains and vast fields of the valley, the rice paddies reflect the colors of the sky and clouds, and while being awed by nature, Tsai ponders how to see through the superficial and express the essence of one's feelings, rather than simply reproducing what is seen.
People living in urban environments are often disconnected from nature, lack sensitivity to seasonal changes, and experience feelings that are often one-sided and disjointed. "Flow with the Mindfulness of Living" means experiencing the pulse of life's vigor and energy in nature, allowing viewers to immerse themselves in a state of mind for rediscovering life's passion and original intent.
During the residency, the artist found inspiration and materials from everything around him. For example, a leaking roof was not just the trace of water flow to him, but also contained the passing of time, the transformation of space, and the flow of things. He used clear spring water mixed with pine smoke to create an ink of natural beauty, with a creative process that involved minimal "control." By allowing the "uncontrollable" water and ink to flow freely and imbue the fibers of the paper, the water, ink, paper, and brush interacted gently to create a sense of forgetting oneself in a state of mindfulness during the creative process.
蔡育田，1968年出生於台灣桃園，
畢業於東海大學美術系，師承蔣勳老師。
於清華大學藝術中心任職策展期間探索藝術創作在時空中定位的脈絡，
並於從事社區總體營造、社區規劃師的經驗中體會人與環境互動的微妙關係，
進而開始公共藝術的創作，
此外，他也曾赴印度VIPASSANA內觀中心及英國倫敦文殊哥薩耶佛學營禪修，
探索內在與外在能量平衡的奧秘。
2020年，他以受恩師蔣勳的字句啟發所創作之大型雕塑《水做精神玉作魂》，
勇奪有「設計界奧斯卡」之稱的義大利國際設計大賽
A' Design Award and Competition白金首獎，
為台灣首位獲得此設計類別首獎的藝術家！
此獎僅授予百分比最高1％，為設計界聲望很高獎項，
除了列入世界設計排名紀錄，
獲獎訊息翻譯成109種語言並推廣至195個國家，
讓全世界看見台灣之光！
而評審團亦給予此作極高評價，認為其設計上達到了完美的典範水平。
畢業於東海大學美術系，師承蔣勳老師。
於清華大學藝術中心任職策展期間探索藝術創作在時空中定位的脈絡，
並於從事社區總體營造、社區規劃師的經驗中體會人與環境互動的微妙關係，
進而開始公共藝術的創作，
此外，他也曾赴印度VIPASSANA內觀中心及英國倫敦文殊哥薩耶佛學營禪修，
探索內在與外在能量平衡的奧秘。
2020年，他以受恩師蔣勳的字句啟發所創作之大型雕塑《水做精神玉作魂》，
勇奪有「設計界奧斯卡」之稱的義大利國際設計大賽
A' Design Award and Competition白金首獎，
為台灣首位獲得此設計類別首獎的藝術家！
此獎僅授予百分比最高1％，為設計界聲望很高獎項，
除了列入世界設計排名紀錄，
獲獎訊息翻譯成109種語言並推廣至195個國家，
讓全世界看見台灣之光！
而評審團亦給予此作極高評價，認為其設計上達到了完美的典範水平。
2022年初，藝術家透過蔣勳老師推薦，參與了為期一個月，台灣好基金會於池上的駐村計畫。
以往作品多以大型不鏽鋼公共藝術為主，這次，蔡育田帶著簡單的筆墨工具，返璞歸真感受當地風土人情。
蔡育田獨居於龍仔尾稻田小路旁最邊間的老農舍，身處地氣、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。面對縱谷大山與遼闊田野，水田映照著雲嵐水光天色，被大自然震懾的同時也思考著：如何不被表象迷惑，看透生命的本質？如何表達感受的本質，而不是再現表象？
都會生活常處於封閉環境，人們已習慣與大自然脈絡脫節，對節氣無感，感受往往片面且缺乏連貫性。「居心流」意味著期待在大自然生機勃發，開闊而充滿能量的生態裡，讓觀者體會脈動，安住身心於心流之中，找回生命的熱情與生而為人的初衷。
駐村期間，舉凡萬物都是藝術家的靈感來源與媒材。好比屋漏痕，對他而言不只是水流動的痕跡，水痕裡囊括時間的流逝、空間的轉化、物換星移的流動，其利用清澈泉水調合松煙的輕墨，呈現渾然天成的墨韻，創作過程少「控制」，在筆鋒未至之處任由「不可控」的水韻墨痕沁透流竄於草本纖維之中，而水、墨、紙、筆毛的輕柔互動特性，使創作時有物我相忘於心流的感受。
以往作品多以大型不鏽鋼公共藝術為主，這次，蔡育田帶著簡單的筆墨工具，返璞歸真感受當地風土人情。
蔡育田獨居於龍仔尾稻田小路旁最邊間的老農舍，身處地氣、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。面對縱谷大山與遼闊田野，水田映照著雲嵐水光天色，被大自然震懾的同時也思考著：如何不被表象迷惑，看透生命的本質？如何表達感受的本質，而不是再現表象？
都會生活常處於封閉環境，人們已習慣與大自然脈絡脫節，對節氣無感，感受往往片面且缺乏連貫性。「居心流」意味著期待在大自然生機勃發，開闊而充滿能量的生態裡，讓觀者體會脈動，安住身心於心流之中，找回生命的熱情與生而為人的初衷。
駐村期間，舉凡萬物都是藝術家的靈感來源與媒材。好比屋漏痕，對他而言不只是水流動的痕跡，水痕裡囊括時間的流逝、空間的轉化、物換星移的流動，其利用清澈泉水調合松煙的輕墨，呈現渾然天成的墨韻，創作過程少「控制」，在筆鋒未至之處任由「不可控」的水韻墨痕沁透流竄於草本纖維之中，而水、墨、紙、筆毛的輕柔互動特性，使創作時有物我相忘於心流的感受。
VIPASSANA
內 觀
內 觀
KADAMPA MEDITATION CENTRE LONDON 2004
VIPASSANA INDIA 2006
The ancient is a pali word meaning insight. Seeing things as they really are. It is not a blind faith or philosophy. And has nothing to do with sectarian religion. Instead Vipassana is a practical method that can be applied by any one of average intelligence.
Its goal is to purify the mind. To eliminate the tensions and negativities that make us miserable.
The ancient is a pali word meaning insight. Seeing things as they really are. It is not a blind faith or philosophy. And has nothing to do with sectarian religion. Instead Vipassana is a practical method that can be applied by any one of average intelligence.
Its goal is to purify the mind. To eliminate the tensions and negativities that make us miserable.
Heart Sutra
Translated by Xuanzang, a Buddhist monk from Tang Dynasty
Thus have I heard:
At one time, the Buddha was staying on Vulture Peak in Rajagriha with a vast assemblage of monks and bodhisattvas.
At that time, the Bodhisattva Avalokitesvara, whilst practicing the profound Prajñā Pāramitā, clearly perceived that all five skandhas are empty, thus relieving himself of all suffering and distress.
“O Shariputra, form is not separate from emptiness and emptiness is not separate from form. Form is emptiness and emptiness is form. The same applies to sensation, perception, volition, and consciousness.
“Shariputra, all dharmas are marked with emptiness, neither arising nor ceasing, neither defiled nor immaculate, neither increasing nor decreasing.
“Therefore, in emptiness there is no form, sensation, perception, volition, or consciousness; no eye, ear, nose, tongue, body or mind; no sights, sounds, smells, tastes, touches or mental impressions; no visual field and so forth up to no mind-consciousness; no ignorance or end of ignorance, and so forth up to no ageing and death or end of ageing and death; no suffering, accumulation, extinction or path; no knowledge, and no attainment.
“Having no attainment, the bodhisattvas, relying on Prajñā Pāramitā, have no obstructions in their minds. Having no obstructions, there is no fear, and they transcend distorted views and discover nirvana. All Buddhas of past, present, and future also attain enlightenment by relying on Prajñā Pāramitā.
“Therefore, the great mantra of Prajñā Pāramitā should be proclaimed, which is the mantra that says:
“Gone, gone, gone beyond, gone completely beyond, svāhā.”
Translated by Xuanzang, a Buddhist monk from Tang Dynasty
Thus have I heard:
At one time, the Buddha was staying on Vulture Peak in Rajagriha with a vast assemblage of monks and bodhisattvas.
At that time, the Bodhisattva Avalokitesvara, whilst practicing the profound Prajñā Pāramitā, clearly perceived that all five skandhas are empty, thus relieving himself of all suffering and distress.
“O Shariputra, form is not separate from emptiness and emptiness is not separate from form. Form is emptiness and emptiness is form. The same applies to sensation, perception, volition, and consciousness.
“Shariputra, all dharmas are marked with emptiness, neither arising nor ceasing, neither defiled nor immaculate, neither increasing nor decreasing.
“Therefore, in emptiness there is no form, sensation, perception, volition, or consciousness; no eye, ear, nose, tongue, body or mind; no sights, sounds, smells, tastes, touches or mental impressions; no visual field and so forth up to no mind-consciousness; no ignorance or end of ignorance, and so forth up to no ageing and death or end of ageing and death; no suffering, accumulation, extinction or path; no knowledge, and no attainment.
“Having no attainment, the bodhisattvas, relying on Prajñā Pāramitā, have no obstructions in their minds. Having no obstructions, there is no fear, and they transcend distorted views and discover nirvana. All Buddhas of past, present, and future also attain enlightenment by relying on Prajñā Pāramitā.
“Therefore, the great mantra of Prajñā Pāramitā should be proclaimed, which is the mantra that says:
“Gone, gone, gone beyond, gone completely beyond, svāhā.”