1999畢業於法國巴黎國立高等美術學院，旅法期間於旗袍店打工的經驗，以及對裁縫師母親的思慕回憶，穿針引線地開啟她的纖維藝術實驗。作品從早期巧妙結合油彩與刺繡，到後來臺灣花布打底的複合媒材油彩，或近期的天然染色軟雕塑與梭織、刺繡地圖，都優遊在纖維材質的世界。而身處他方的思鄉味蕾，也誘使她展開往後飲食文化主題的多年探索。

本次展出駐村印度時的系列創作，複合媒材裝置《日常包裹》以軟雕塑回憶每日中午打開餐點包裝所見的驚喜，纖維創作《瓦力土地》則以麻繩與當地老布，勾勒原住民瓦力(Warli)部落與土地相處的四季風俗。

對她來說，駐村最有趣的是現地創作，語言的溝通、文化的差異。要在短時間內創做出作品是一種挑戰，也鋪陳一條未來創作的可能性，如果駐村是一個點，離開駐村地後的創作可以連成線，點只是一個開端，很多條線就可以支撐創作者無限可能性。

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Having graduated from École des Beaux-Arts (National School of Fine Arts) in Paris 1999, Deng's experimentation with fiber art started out of a part-time job at a Chinese dress (qi-pao) store during her stay in France and the memories of her mother, a tailor. Deng has shown her talents by using fiber materials with various media--from the ingenious integration of oil paint and stitching in her early works, to mixed media with oil paint on Taiwanese figured cloth later on, and more recently, the combinations of naturally-dyed soft sculpture with weaving and stitched maps. Living in a foreign country also made Deng set off for a years-long search for themes based on food.

In this exhibition, Deng presents a series of works made when she was a resident artist in India. “Daily Package,” a mixed-media piece, recreates the surprises she had when opening her lunchbox every day. The fabric work series "Warlilands" utilize hemp ropes and local old cloth to portray the indigenous Warli tribe, their interaction with the land, and their customs for the four seasons.

To Deng, the most interesting part of being a resident artist is creating on-site, the communication between languages, and cultural differences. Creating a piece of work in a short time is not just a challenge; it also opens up future possibilities. If each residency is one dot, then an artist's creations after leaving it form a line. The dot is just the beginning of the infinite number of lines along with the artist's creative career.

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作品​

artworks