“Forest of the Earth” Embroidery Series draws inspiration from my residency at Dadi Farm (大地農場) in Beipu（北埔）, Hsinchu（新竹）, during the winter of 2023.

In Taiwan, even mountainous areas are often densely populated, making places that preserve original forest ecosystems increasingly rare. Dadi Farm is one such exception. This private forest, once used for forestry and as a private retreat, only opened to visitors as a recreational farm around 2022. Nestled in a secluded valley, it maintains a largely untouched ecosystem, where many native Taiwanese plants and animals can be found. As the seasons shift, the forest reveals different landscapes, which became the foundation of my creative exploration.I translated my observations of seasonal changes into two embroidery pieces:

Autumn–Winter（A Rabbit Treating a Pangolin）: The cypress trees turn a vivid red, a rare brightness within the autumn forest. Roselle plants bear plump fruits in the cold, while bamboo shoots quietly emerge from the ground. The pangolin, a protected species in Taiwan, moves among the mounds at night. In the work, a rabbit holds a roselle flower, tending to a pangolin whose energy has slowed with the coming of winter. This scene reflects the calm and restorative quality of the forest during the colder seasons.

Spring–Summer（A Rabbit Removing Seeds from Green Plums）: Under bright sunlight, the forest and farmland are full of vitality. Skink（龍石子）are entwined with climbing plants, and bamboo shoots reach maturity—some growing too tall to be eaten, yet still striking in their presence. Taro plants bear red fruits, as do plum trees. During the Qingming season, plums are harvested to make plum wine or fruit vinegar. If left too long, they ripen into yellow plums and fall to the ground, returning as nourishment to the soil.

These two works not only depict the changing seasons, but also reflect the rhythms of life and the cycles of nature within the forest.Created using punch needle embroidery, this series explores the use of yarn to construct richly colored, subtly three-dimensional surfaces. Through this process, I developed a growing interest in the tactile qualities of handmade work, particularly in how material and texture can evoke a sense of warmth, softness, and quiet healing.