SHARJAH (Taiwan News) — Taiwanese artist Alualy Kaumakan (Wu Yu-ling, 武玉玲) captivated audiences at the 2025 Sharjah Biennial with her monumental installation, “Vines in the Mountains.”
As one of only two Taiwanese female artists selected for this prestigious international exhibition, Wu’s work transforms the lived experiences and ancestral craftsmanship of Taiwan’s Indigenous women into a striking visual narrative, marking her debut in the Middle East.
Born into the Paiwan tribe in Pingtung County, Wu is the daughter of a tribal chief (known as the Sun). Her upbringing immersed her in Paiwan traditions, particularly in traditional costume-making and weaving techniques, which later became central to her artistic practice.
Wu’s work explores three interconnected themes: the preservation of tribal heritage, feminine empowerment, and environmental stewardship. She employs traditional mending techniques, repurposing recycled textiles and organic materials into dynamic installations. This approach not only underscores environmental consciousness but also bridges ancestral craftsmanship with contemporary artistic expression.
A decade in the making, “Vines in the Mountains” is Wu’s most ambitious project to date. She describes the installation as “an organic entity that grows, evolves, and breathes, emerging from a place of deep empathy.” The work was created collaboratively with 30 to 40 women displaced by Typhoon Morakot in 2009. Through traditional weaving, they incorporated inherited garments from tribal elders, donated clothing, and naturally dyed fabrics into the large-scale piece.
The installation embodies the participants’ emotional journey and collective memory, with ground-trailing ropes evoking blood vessels to symbolize the perpetual flow of life. The color composition holds deep cultural significance: red represents feminine fertility, strength, and courage; yellow symbolizes celestial and terrestrial elements; green embodies nature’s vitality; and black pays tribute to Paiwan slate architecture and its embedded wisdom.
Wu has exhibited internationally in France and Japan, with a notable 2023 showing at London’s Hayward Gallery. Her work adapts to different architectural contexts, showcasing its organic versatility. In May, she will present a new installation in Helsinki featuring soil-printed stone houses, continuing her exploration of Indigenous displacement.
Looking ahead, Wu is developing her “Sprouting” series, using verdant hues to symbolize regeneration and renewal. Before each new project, she conducts spiritual consultations with ancestral spirits, reflecting her deep cultural reverence.
Wu’s artistic practice goes beyond cultural preservation, offering a contemporary commentary on social issues.
Through her work, she amplifies Indigenous women’s voices, highlighting their resilience in the face of natural disasters and social upheaval.
At the intersection of tradition and innovation, her installations advocate for environmental sustainability and cultural conservation while fostering a global dialogue on identity, memory, and transformation.
(Taiwan News, Lyla Liu video)
