Contemporary Art in Context: Cheng Tsung Feng

Art historians often say that no art is created in a vacuum. Many art forms have been practiced since the Neolithic Period (ca. 8000–1700 BCE). Throughout history, there have been artists who have looked to past artistic traditions for inspiration and have applied their unique vision to create something new. One contemporary example of this is Taiwanese artist Cheng-Tsung Feng, who infuses a modern design aesthetic into the ancient form of bamboo arts.

Cheng-Tsung Feng describes himself as an “old soul” in a young body. His artworks are not only beautiful examples of handmade aesthetic, they are also narratives on traditional East Asian culture. His bamboo works demonstrate his fascination with the way that working in bamboo synthesizes history, anthropology, material science, and botany. Inspired by traditional utensils and objects, he uses traditional methods of bamboo weaving to create contemporary designs that radiate strong allusions to traditional Taiwanese objects, but on a much larger scale. All his designs are created using techniques that cannot be replicated by a machine.

Large-Scale Woven Works
In his installation Beside, in Teng Yu-Hsien Park in Qionglin Township, Feng worked with sixty local residents, teaching them the ancient techniques of working with bamboo and giving them a sense of connection to the work. In this work, Feng employed circle weaving to create the holes in the piece, and random weaving, which means he did not apply a specific pattern to the design.

On the same scale as Beside is Feng’s Bamboo Theater in Horse Stone Park, Nantou. Theater design has a long history in China, and Fengʼs interpretation of this ancient form uses bamboo, wood, ropes, and tape. Like his Beside installation, the artist paid an equal amount of attention to the theaterʼs location and how the lace-like structure would look when lit up at night.

Perhaps Feng’s most recognizable forms are his Fish Trap Houses. Before he constructed the first one in 2017, he learned the art of weaving bamboo fish traps for river fishing from an elder of the indigenous Thao culture. This project, too, was shared with many local residents as assistants in Nantou on Sun Moon Lake.

Art History: Bamboo Weaving
In the art of East and Southeast Asia, bamboo symbolizes virtues such as integrity, modesty, and resilience. In China, objects woven from bamboo can be traced as far back as the 5000s BCE, with the earliest example discovered in Yuyao in Zhejiang Province. From the Shang (ca. 1523–1028 BCE) to the Han Dynasties (206 BCE–220 CE), bamboo weaving was used primarily for household utensils and farming tools. From the Sui (581–618 CE) to Tang (618–907 CE) Dynasties, bamboo weaving became more sophisticated with decorative applications. By the Qing Dynasty (1644–1912), bamboo weaving techniques were combined with other media such as lacquer. There are over 1,200 species and varieties of bamboo, and it can be found throughout China, from the southern tip of Hainan Island to Beijing, and from Langxiaan in Tibet to eastern Taiwan.

About the Artist
Cheng-Tsung Feng was born in 1987 in Taiwan. He received a degree in industrial design from Yunlin University of Science and Technology, having learned nothing about traditional handicraft art forms. His initial designs followed the trends that were popular in Europe, America, and Japan. In 2013, he participated in a project of the National Taiwan Craft Research and Development Institute, which paired designers with traditional craftspeople, whose collaborative projects were then exhibited at Milan Design Week. For Feng, this was the spark that lighted his passion for working with bamboo. With bamboo artist Chen Gaoming, he designed the Flow bamboo chair, which helped transform the public’s perception of bamboo as an art form. After that, Feng visited many veteran craftspeople all over Taiwan to learn bamboo art, among many other craft forms. In 2015, he established Studio Kao Gong Ji, which designs tableware, light fixtures, and furniture.

ARTIST Q&A
What are some of the biggest influences on your work?
Cheng-Tsung Feng: I am most influenced by handmade antique objects, artifacts in museums, and the craftspeople who continue to make these items today. I am fascinated by factors such as long-term accumulation, historical and cultural significance, and the exquisite application of materials and techniques. In my daily life, I also enjoy collecting handmade objects.

What is a typical workday like for you?
CTF: When I start my workday, I begin by writing a to-do list on my computer, phone, or notebook. It might include a vague idea that needs clarification or topics that pique my curiosity and need exploration, sometimes expanding into a mind map.

My studio currently has five full-time designers, and I manage and check each person’s work progress using a similar method. I follow up individually based on everyone’s progress.

My actual work time is minimal, or rather, I am always working in my mind, carrying my tasks with me. Often, after delegating work to my colleagues, I leave the studio with my wife, which also helps my team feel more relaxed. We might go to movies, restaurants, cafés, visit friends and various people, or simply drive around, chat, or walk. This process often helps me move my tasks forward significantly, as I find that moving around enhances my thinking efficiency more than staying at my desk.
Do you have specific strategies or routines that help you work and/or generate ideas?
CTF: When I start a creative process, I don’t begin with drawing; I always start by writing short texts. Through writing, I develop, capture, and record my concepts, and I refine the text repeatedly. I prefer this method over sketching because I believe writing allows for a purer development of ideas without the immediate constraints of visuals or shapes. Writing gives me a greater sense of freedom. I also find that when I share the beauty of my favorite works, exhibitions, films, stories, or people, I can convey it more profoundly through words than through photos.

How does place influence your work?
CTF: Many of my large-scale installation artworks and public art pieces are inspired by the local culture of the site where they are placed. I aim for these works to connect closely with the community, often seeking to revive and explore nearly forgotten traditional crafts of the area, sharing these old stories with a broader audience through my art.

I currently live in Nantou, a central region of Taiwan. I chose to set up my studio and residence here because I enjoy the rural lifestyle, the slow pace, and the vast sky without many tall buildings.

I often have opportunities to travel within Taiwan and globally, and I love exploring traditional cultures and histories, particularly those related to materials, design, art, and architecture. These experiences offer me many learning opportunities and a deep sense of satisfaction. Additionally, my favorite museum is Musée du quai Branly in Paris, where I spend an entire day each time I visit the city.

How is your use of bamboo and other natural materials a statement on the use of renewable resources as opposed to industrial materials?
CTF: I don’t deliberately choose natural materials; I am drawn to handmade cultures with historical significance and a long accumulation of time. These cultures often utilize natural materials, which reflects a balanced and friendly relationship between humans and nature. I do not reject industrial materials either, as many, such as iron, copper, and stainless steel, are recyclable. I believe that holding an attitude of cherishing materials, minimizing waste, and focusing on quality is crucial for fostering an environmentally friendly and resource-recycling mindset, and this begins with peopleʼs attitudes.

Can you share any upcoming projects with our readers?
CTF: I was recently invited by Aesop to create an installation artwork titled Dancers in the Market for a concept store in Taiwan designed around the idea of traditional Taiwanese markets. This is my first kinetic artwork, featuring a handmade bamboo furniture structure that supports sixteen electric motors swinging ribbons dyed with onion peels collected from local markets.
The concept of this piece is inspired by the food vendors in traditional Taiwanese markets, who use rotating motors to wave plastic ropes to scare away insects. During my childhood visits to these markets with adults, I was always deeply captivated by these movements, which reminded me of dancers in colorful costumes gracefully performing on their own stage: bit.ly/ChengTsungFengAesop.