TABLE PROJECTS
Social Gatherings as Artistic Practice Participatory works exploring food, hospitality, storytelling, and collective experience.
TABLE — Project Description仿鳥食會
A Banquet That Mimics the Diet of Birds
作者：陳品卉 蘇品蓉 Pin-Hui Chen Ping-Jung Su 2022
《仿鳥食會》是一場結合飲食、空間與敘事的藝術餐桌計畫，透過模擬「鳥類的飲食方式」，重新思考人類進食行為與群體關係。
餐桌被視為一種暫時性的展覽空間——食物不只是被食用的物件，而是作為雕塑、場景與交流媒介存在。參與者在共享食物的過程中，經歷觀看、等待、選擇與互動，使用餐行為轉化為一場集體表演。
整體設計從鳥類覓食的節奏出發，將食材分散、堆疊與重新排列，使人們離開慣性的餐桌秩序，進入一種介於自然觀察與社交儀式之間的狀態。
本計畫結合手繪視覺、菜單設計、空間裝置與現場行為紀錄，形成一件可被經驗、參與與記憶的敘事型作品。
English A Banquet That Mimics the Diet of Birds is a performative dining project that merges food, spatial installation, and narrative experience. Inspired by the feeding behaviors of birds, the work reconsiders human eating rituals and collective social interaction.
The dining table functions as a temporary exhibition space where food exists not merely as nourishment, but as sculpture, scenography, and a medium of communication. Through sharing, observing, waiting, and choosing, participants become part of a collective performance.
The arrangement of ingredients follows rhythms of foraging — dispersed, layered, and reorganized — inviting participants to step outside conventional dining structures and enter a state between natural observation and social ritual.
Combining illustrated visuals, menu design, spatial composition, and live documentation, the project becomes a narrative artwork experienced through participation and memory.
A Banquet That Mimics the Diet of Birds
作者：陳品卉 蘇品蓉 Pin-Hui Chen Ping-Jung Su 2022
《仿鳥食會》是一場結合飲食、空間與敘事的藝術餐桌計畫，透過模擬「鳥類的飲食方式」，重新思考人類進食行為與群體關係。
餐桌被視為一種暫時性的展覽空間——食物不只是被食用的物件，而是作為雕塑、場景與交流媒介存在。參與者在共享食物的過程中，經歷觀看、等待、選擇與互動，使用餐行為轉化為一場集體表演。
整體設計從鳥類覓食的節奏出發，將食材分散、堆疊與重新排列，使人們離開慣性的餐桌秩序，進入一種介於自然觀察與社交儀式之間的狀態。
本計畫結合手繪視覺、菜單設計、空間裝置與現場行為紀錄，形成一件可被經驗、參與與記憶的敘事型作品。
English A Banquet That Mimics the Diet of Birds is a performative dining project that merges food, spatial installation, and narrative experience. Inspired by the feeding behaviors of birds, the work reconsiders human eating rituals and collective social interaction.
The dining table functions as a temporary exhibition space where food exists not merely as nourishment, but as sculpture, scenography, and a medium of communication. Through sharing, observing, waiting, and choosing, participants become part of a collective performance.
The arrangement of ingredients follows rhythms of foraging — dispersed, layered, and reorganized — inviting participants to step outside conventional dining structures and enter a state between natural observation and social ritual.
Combining illustrated visuals, menu design, spatial composition, and live documentation, the project becomes a narrative artwork experienced through participation and memory.
A Banquet That Mimics the Diet of Birds 2.0
仿鳥食會｜玉米田版本 2.0
是一件發生於自然場域中的餐桌作品，延伸自展覽餐會計畫，並在兩年後重新於戶外實現。
作品選擇玉米田作為場域，藝術家與團隊自行搭建木作結構與臨時裝置，使餐桌成為介於藝術裝置與生活行為之間的存在。參與者在田野中央共同用餐，身體直接感知風、氣味、光線與時間流動，用餐經驗不再只是社交活動，成為一種與環境同步的集體行為。
A Banquet That Mimics the Diet of Birds 2.0 (Cornfield Edition)
A Banquet That Mimics the Diet of Birds 2.0 is a site-responsive table project set within a natural landscape, developed as an extension of the original exhibition dining work and reimagined outdoors two years later.
Set in the middle of a cornfield, the artists and their team constructed a temporary wooden structure and spatial installation, transforming the dining table into something between an artwork and a lived social experience.
Participants gathered to share a meal surrounded by wind, scent, shifting light, and the passage of time. The dining experience moved beyond conventional social interaction, becoming a collective act of synchronising with the environment.
是一件發生於自然場域中的餐桌作品，延伸自展覽餐會計畫，並在兩年後重新於戶外實現。
作品選擇玉米田作為場域，藝術家與團隊自行搭建木作結構與臨時裝置，使餐桌成為介於藝術裝置與生活行為之間的存在。參與者在田野中央共同用餐，身體直接感知風、氣味、光線與時間流動，用餐經驗不再只是社交活動，成為一種與環境同步的集體行為。
A Banquet That Mimics the Diet of Birds 2.0 (Cornfield Edition)
A Banquet That Mimics the Diet of Birds 2.0 is a site-responsive table project set within a natural landscape, developed as an extension of the original exhibition dining work and reimagined outdoors two years later.
Set in the middle of a cornfield, the artists and their team constructed a temporary wooden structure and spatial installation, transforming the dining table into something between an artwork and a lived social experience.
Participants gathered to share a meal surrounded by wind, scent, shifting light, and the passage of time. The dining experience moved beyond conventional social interaction, becoming a collective act of synchronising with the environment.
Exhibition Opening Refreshments本案為展覽開幕期間所設計的概念茶點，
作為展覽空間的一部分。 創作從展覽主題與視覺語言出發，將作品中的材質、色彩與文化意象轉化為可被品嚐的形式。食物被視為一種短暫的媒介，使觀眾透過味覺與身體經驗進入展覽情境。 Exhibition Dining Intervention Created for an exhibition opening, this conceptual edible project functioned as an extension of the exhibition environment. Responding to the exhibition’s themes and visual language, the work transformed materials, colours, and cultural references into edible experiences. Food was treated as a temporary artistic medium — inviting visitors to engage with the exhibition not only visually, but through taste, sensory perception, and embodied participation. |
Long Table x
|
YSL Beauty VIP 體驗本作品為 YSL Beauty VIP 活動所設計的概念餐點，回應品牌當次活動以摩洛哥為靈感的色彩氛圍與視覺語言。
作品中的 couscous（小米）以火龍果、菠菜與薑黃等天然食材手工染製出三種色調，將食物轉化為一件兼具色彩構成與感官體驗的可食作品。 介於餐飲設計與短暫裝置之間，透過色彩、質地與味覺，延伸品牌敘事與現場氛圍。 YSL Beauty VIP Dining Experience Created for a YSL Beauty VIP event, this conceptual salad was designed in response to the brand’s Moroccan-inspired visual direction. The couscous was naturally dyed using dragon fruit, spinach, and turmeric, creating a palette of three vibrant colours that echoed the event’s atmosphere and material language. Blending food styling, colour composition, and sensory storytelling, the work transformed a simple dish into a temporary edible extension of the brand experience. |
WHY TABLE ?
對我來說，圍坐在一張桌子旁，是另一種形式的畫畫。
我的創作一直關注人與人之間的關係、情感距離、歸屬感，以及那些看不見卻影響我們如何靠近彼此的結構。
如果插畫讓我在紙上觀察這些關係，那餐桌作品則讓我能在現實中啟動它們。
食物成為一種社交材料。
餐桌成為一個敘事的載體。
參與者成為活生生故事的一部分。
透過這些聚會，我探索款待、親密、記憶、儀式感、孤獨，以及集體經驗。
For me, gathering around a table is another form of drawing.
My practice has always been concerned with human relationships, emotional distance, belonging, and the invisible structures that shape how we move closer to one another.
If illustration allows me to observe these dynamics on paper, table-based works allow me to activate them in real life.
Food becomes a social material.
The table becomes a narrative vessel.
Participants become part of a living story.
Through these gatherings, I explore hospitality, intimacy, memory, ritual, loneliness, and collective experience.
我的創作一直關注人與人之間的關係、情感距離、歸屬感，以及那些看不見卻影響我們如何靠近彼此的結構。
如果插畫讓我在紙上觀察這些關係，那餐桌作品則讓我能在現實中啟動它們。
食物成為一種社交材料。
餐桌成為一個敘事的載體。
參與者成為活生生故事的一部分。
透過這些聚會，我探索款待、親密、記憶、儀式感、孤獨，以及集體經驗。
For me, gathering around a table is another form of drawing.
My practice has always been concerned with human relationships, emotional distance, belonging, and the invisible structures that shape how we move closer to one another.
If illustration allows me to observe these dynamics on paper, table-based works allow me to activate them in real life.
Food becomes a social material.
The table becomes a narrative vessel.
Participants become part of a living story.
Through these gatherings, I explore hospitality, intimacy, memory, ritual, loneliness, and collective experience.
