iutian Tsai

雖然臺灣雕塑家蔡育田的作品具科技時代的極簡主義、表現主義、抽象主義、現代主義等風格，但他更喜歡用佛教偈語來形容他的雕塑。《般若波羅蜜多心經》說：「色即是空、空即是色。」《金剛經》則告訴我們：「一切有為法，如夢幻泡影，如露亦如電，應作如是觀」。

 蔡育田表示，他的作品並非來自「藝術想像力」、「個人創造力」或其他西方傳統前衛理念，他的雕塑關注的是在公共空間中「尋找平衡」和「創造意義」。比起扮演一個美學家，他的角色更像是中國的「文人」或是風水大師；他的創作不只是出於對美的追求，而更是為了在社會和人際間的空間裡去「引導、修飾、淨化和強化正面的氣場」。

Though a tech-age modernism of minimalism, expressionism and abstraction are apparent in the work of Taiwanese sculptor Iutian Tsai, the artist prefers to speak of his sculptures with Buddhist riddles. The Heart Sutra states that “form is emptiness, and emptiness is form," and the Diamond Sutra tells us: “So you should view this fleeting world: A shooting star, a bubble in a stream, a flash of lightning in a summer cloud, the flickering of a lamp, a shadow of the mind, a dream.” There is nothing in Tsai’s works, he claims, that derives from the “artistic imagination,” “individual creativity,” or other ideals of the Western tradition of the avant-garde. His sculptures rather concern the “problem of finding balance” and of “creating meaning” within a public space. His role as not that of an aesthete, he says, but rather that of a Chinese literati or perhaps a fengshui master; he produces art not out of a quest for beauty but rather a mission “to guide, groom, purify and strengthen the positive chi” of social, inter-relational space. 

Source: Chinese brush strokes frozen in space: The Sculpture of Iutian Tsai , by David Frazier.