島谷織流合作聯盟成員介紹_後山金工房
作品參考連結(Product references link):
https://islander.waca.ec/product/detail/1838083
「看著那一堆小小的碎銀,經過融化、敲打、變形、接合成戒指,一步一步打磨,看到它變成一個很漂亮作品時,心裡就會有一股成就感,那樣的過程就像是魔術一樣。」在一盞昏黃的燈光下,楊達開的笑意淡淡,藏著隱晦的滿足。
坐落在吉安黃昏市場附近小巷的後山金工房,這裡是楊達開的金工體驗教室,也是打造了許多人幸福的地方。陳架上的作品記錄著楊達開的轉變,時間流轉,把楊達開從一個把想說的話轉變成作品的人,變成了教人怎麼把想說的話放進作品裡的人。
花蓮在地出生的楊達開,大學時候去了山的另外一頭台中念書,帶著西部的經驗,輾轉經驗了幾份工作,木工家具學徒、木屋結構設計,甚至是旅遊在地觀光導覽等工作,輾轉回到建築師事務所,一待就待了三年,卻也從這份工作經驗中,深刻的瞭解了什麼是自己不想要的。
「那樣的工作太消耗了,好像付出了很多,但對我來說成就感是相對薄弱的。」對未來感到迷惘的時候,也想過是不是要回台中發展,在這樣的轉職期間,偶然看到了職訓局開出的金工課程,因為對金工的未知充滿好奇,他於是報名參加,沒想到當初一個偶然的決定,讓他踏上金工的路,就這樣一直走到了現在。金工的培訓課程結束,他和同學們一起開設了工作坊,但隨著時間推移,大家都有了其他忙碌的目標,工作坊走著走著就只剩下他了。
剛開始充滿期待,帶著作品跑遍大大小小的市集,卻發現作品不見得賣得出去,那時候花蓮的市場還不了解什麼是金工,也不了解這樣小小的戒指需要的人力與時間,自然也沒法理解所販售的價格,「也是有過口袋真的空空,不知道未來在哪裡的時候。」楊達開談起過去窮得揭不開鍋的經歷笑說,眼神卻越發堅定。「但自己選的路,咬著牙也要走下去啊。」
聊起曾經轉換多個跑道,最後金工這條路走得坎坷卻未曾想要放棄,楊達開眼光堅定地說:「我覺得還是要找到最剛開始的那一份熱情,一路這樣走,自己做、也看了很多學生,我覺得最後能夠支持一個人走下去是他最初對創作的熱情。」直到走到金工這條道路,他轉而發現過去認為不適合他的工作,也成為了他在金工路上的養分。「我才發現建築跟金工的相似之處,都是從設計圖開始做起,然後慢慢一層一層的變為成品。」但建築是不可能一個人完成的,金工就像是一種微觀的建築,跟創作者的連結更深,人就像是造物主一樣。做出一個作品,對楊達開來說,等同於一種自我實現。
雖然逐漸打開了市場的大門,但楊達開對將飾品商品化並不感興趣,「我追求的是不停挑戰技藝,我想探索手中有限的銀可以有多少種不同的呈現面貌。」楊達開表示,後期他的創作更像是一種實驗,想要去了解他所學習的技藝,可以將金工作成什麼樣子,這也是後來工作室隨著時間逐漸轉型成為體驗工作坊、產品轉向訂製的原因。
在島人展售的商品中,「吉光片羽」是銀與空窗琺瑯的技藝結合,「星辰之夢」是各種鑲嵌方式的集合,「林蹤尋鹿」是將銀與不規則水晶集合的技法,這些創作除了是他的經驗累積的作品,更是他教學路上的重要教材。透過仿做去練習技法,這些作品成為一盞盞引路的明燈,帶著更多學生走上了打磨自己的路。
從作品中感受的自然元素,楊達開表示那是一種自然而然呈現出來的樣態。「在花蓮就是不自覺的用到這樣的線條,因為所看到的環境就是這樣的。」沒有都市大樓裡的冷硬筆直,花蓮的生命流動讓楊達開的作品柔軟下來,帶著自然的氣息,有著風在竄動。
楊達開對後山金工房的未來展望是成立一個基金會,能夠提供更多有想法的學子資源,培養出更多金工工藝師、飾品珠寶創作師。
「我認為除了熱情、耐心和細心,還有同理心是絕對必要的。」楊達開說起自己認為工藝師最重要的特質,是有著一顆能夠同理他人的心,才能夠將那份心意放進作品裡面。就像是那面牆上的醒目大字:「親手打造,屬於你的幸福。」注入了情感的作品也有自己的生命,訴說著創造它們的人想傳達的故事。
金工是一個媒合的元素,可以跟琺瑯、水晶等不同的素材進行結合,楊達開像是經過淬煉而閃閃發亮的銀,碎銀經過大火燒熔、經過打磨機的粗礪摩擦,成就的也許就是這樣歷經挑戰卻明亮的眼睛吧。在技藝的道路上不斷的打磨自己,在嘗試、創新的過程中遇見、接納各式各樣的人,他們的生命經驗相互結合、砥礪,最終成就出了更多元、璀璨的樣貌,這也是楊達開在不斷追求創新的路上,最豐富的收穫。
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In a dimly lit room, Yang Dakai’s smile holds a subtle satisfaction as he reflects on his journey: “Watching those tiny scraps of silver, melted, hammered, shaped, and fused into a ring, step by step polished, seeing it transform into a beautiful piece, there’s a sense of achievement in my heart. That process is like magic.”
Located in a small alley near Ji’an Evening Market, the Houshan Metalworking Studio is Yang Dakai’s workshop and a place where many find happiness. The shelves display works that chronicle Yang Dakai’s transformation over time—evolving from someone who turned thoughts into works of art into a person teaching others how to imbue their thoughts into their creations.
Born in Hualien, Yang Dakai studied in Taichung on the other side of the mountains during university, gaining experiences in the western part of Taiwan. He worked various jobs—apprentice in woodworking furniture, designer for wooden house structures, and even as a local tour guide. He eventually settled in an architectural firm for three years, gaining a profound understanding of what he did not desire from that experience.
“That kind of work was too draining. It felt like I was putting in a lot, but the sense of accomplishment was relatively weak for me.” During a period of uncertainty about the future, he contemplated returning to Taichung for development. It was during this career transition that he stumbled upon a metalworking course offered by the Vocational Training Bureau out of curiosity for the unknown of metalworking. This chance decision set him on the path of metalworking, which he has continued to pursue to this day.
Upon completing the metalworking training course, he and his classmates started a workshop together. However, as time passed, everyone pursued other busy goals, leaving only him in the workshop. Initially full of expectations, traveling to markets large and small with his works, he found that his pieces did not always sell well. At that time, the market in Hualien did not understand metalworking nor comprehend the manpower and time required for such small rings, thus struggling to understand the prices set. “There were times when my pockets were truly empty, uncertain about the future,” Yang Dakai recalled with a laugh, his gaze growing more determined. “But I chose this path and I must persevere.”
Reflecting on his various career transitions, Yang Dakai affirmed, “I feel that I need to rediscover the passion I had at the very beginning. All along this journey, through creating and teaching many students, I believe that what ultimately sustains a person is their initial passion for creation.” Until he found the path of metalworking, he discovered that previous jobs he thought unsuitable became nourishment for him on his journey in metalworking. “I realized that architecture and metalworking are similar—they both start from a design sketch and gradually layer upon layer become a finished product. But architecture cannot be completed alone, while metalworking is like a microcosm of architecture, where the connection with the creator is deeper, akin to being a creator oneself. Creating a piece of work, for Yang Dakai, is equivalent to self-realization.”
Although gradually opening doors in the market, Yang Dakai remains uninterested in commercializing his jewelry. “I pursue continuous challenges in my craftsmanship. I want to explore how many different appearances I can create with the limited silver in my hands.” Later on, his creations evolved into experiments, seeking to understand how he could shape metalworking. This transformation gradually shifted the studio towards experiential workshops and customized products.
Among the products showcased at the Islander Exhibition, “Radiant Feathers” combines silver with cloisonné enamel techniques, “Dreams of the Stars” showcases various inlay methods, and “Traces in the Forest” incorporates irregular crystals with silver techniques. These creations not only accumulate his experiences but also serve as important teaching materials on his teaching journey. Through imitation exercises to practice techniques, these works became guiding lights, leading many students onto their own paths of self-improvement.
Feeling the natural elements in his works, Yang Dakai expressed that they naturally reflect the surroundings in Hualien. “Here in Hualien, I unconsciously incorporate these lines because this is the environment I see.” Unlike the rigid lines found in urban skyscrapers, the flowing life in Hualien softens Yang Dakai’s works, imbuing them with a natural aura, carried by the wind.
Yang Dakai’s vision for the future of the Houshan Metalworking Studio is to establish a foundation that can provide more resources for aspiring students, cultivating more metalworking craftsmen and jewelry designers. “I believe that besides passion, patience, and meticulousness, empathy is absolutely necessary for a craftsman.” Yang Dakai emphasized that the most important quality for a craftsman is having a heart that can empathize with others, allowing them to infuse that sentiment into their creations. Just like the prominent text on the wall reads, “Crafted by hand, your happiness belongs to you.” Emotional pieces also have their own life, telling the story the creators want to convey.
Metalworking is an element of mediation that can be combined with different materials such as enamel and crystals. Yang Dakai, like refined and sparkling silver, has experienced challenges but has bright eyes. Continually honing himself on the path of craftsmanship, encountering and accepting various people through trial and innovation, their life experiences merge and sharpen each other, ultimately achieving a more diverse and brilliant appearance. This is also Yang Dakai’s most enriching harvest on his journey of constant pursuit of innovation.