Editor’s thoughts

Habitat reimagines the creation of the essential objects of human existence – containers, clothes, and even a house – through a meticulous return to manual craftsmanship. Chien-Ching, Hung’s process encompasses everything from the careful gathering of lichens for dyeing to harnessing the natural phenomenon of wild wool felting. The final installation acts as a sanctuary of reflection, participation, and preservation. It invites us to delve into contemplation, urging us to consider the inherent qualities of old-world aesthetics, handicrafts, and nature.

Why Habitat?

Chien-Chung, Hung: The name, Habitat, is an intuitive description of the artwork. My work proposes to challenge the contemporary era of excessive industrial development. The definition of a habitat is the place or environment where a plant or an animal naturally grows and lives. Our ancestors were once close to nature, making good use of their surroundings to fulfill the basic survival needs of humanity. The adherence to my principle during the creation of this work naturally proceeded to name the project ʻHabitatʼ.

Habitat embodies the connection and reflection between man and the earth through a series of containers, clothing, and a house. Why did you choose to explore these specific objects and how did this series begin?

Chien-Chung, Hung: The inspiration for Habitat began with an accidental venture into the Dartmoor forest with friends. Our hike through the forest was not a solitary one, we were luckily accompanied by herds sheep, and cows, if you are struck with good fortune, horses may stride past you.

Dartmoor has been exploited by people for some 6000 years. On our trodden paths, evidence of the medieval lifestyle remained. From farming and grazing to the establishment of tin mines and housing, the ancestral history of this land has been preserved. The traces of houses indicated the region’s abundant reserves of quarries and mines. Additionally, I learned that the locals manufactured woolen cloth from the local Dartmoor wool. The demonstration of their sustained lifestyle in utilizing natural resources inspired me to create the series.

Chien-Chung, Hung: This artwork takes basic requirements for human survival – food, clothing, shelter – as its starting point. I sought to explore crafting vessels, clothing, and tents entirely by using naturally sourced materials. On my hike, I witnessed the wind felting fallen wool. This inspired me to delve into wool felting. I translated its characteristics, encompassing both drawbacks and advantages, into the primary technique employed in this artwork. With the ‘hands-on’ nature of the project, feeling the physical phenomena of wool felting, I deepened my understanding of the material and developed a profound sense of gratitude for nature.

Could you provide more insight into Ursula K. Le Guin’s The Carrier Bag Theory of Fiction?

Chien-Chung, Hung: The book, The Carrier Bag Theory of Fiction, provided tremendous inspiration for me, particularly the quote, ‘Before the tool that forces energy outward, we made the tool that brings energy home’. The book proposes that before the creation of tools for killing and violence, our ancestor’s greatest inventions were vessels. Human needs led to the necessity for ‘storage,’ giving rise to creations like a net woven from hair, a basket for wild oats, and we could even consider houses as considerable containers for humans.

It is a common conception that the first cultural tools were weapons because violence was necessary and inevitable for survival. However, her narrative re-examines whether conflict, violence, and war were truly the central points of human existence. She rewrites the narrative to the beginning of humanization, using an analogy that portrays technology as a cultural container rather than a weapon for colonization.

I believe The Carrier Bag Theory of Fiction is a book that must be revisited. As we continue life’s journey, our understanding of the book’s contents will alter, providing new insights we may not have previously known. My Dartmoor exploration in the wilderness, for example, has resulted in a new perspective on the connection between human life and the earth. To utilize our knowledge, experiences, and surroundings to fulfill our needs for survival is sufficient, enabling us to also take care of ourselves and others, such is the essence of life.

Throughout the development process, you gathered lichen as a dyeing material from the Dartmoor Forest. How was the experience of working with lichen and natural dyeing material?

Chien-Chung, Hung: A few days after heavy rain, I visited Wistman’s Wood near Dartmoor Forest. I collected lichen from fallen branches rather than directly picking it from the trees. While I had always known that lichen could be used as a natural dye, I had never attempted it before. I placed wool soaked in cold water together with collected lichen into a pot and simmered it for over three hours. Afterward, something magical happened – different types of lichens and wool overlapped, resulting in varying shades of orange, yellow, and brown appearing on the wool.
Some areas retained the original color, and others took on a faint yellow shade. I was captivated by the instantaneous color change; the palette was beyond my expectations. The fascination with natural dyeing lies in the fact that the results are different each time, yet there is a sense of accomplishment in every unexpected outcome.

Furthermore, you have created a unique fabric that combines woolʼs natural felting
phenomenon with cotton scrim fabric, making it biodegradable in our environment. Can you elaborate on this process?

Chien-Chung, Hung: During the exploration of materials, I unintentionally experimented with the wet felting process using cotton scrim fabric (plant fiber) and wool (animal fiber). I grabbed an appropriate amount of wool, arranged it neatly on top of the cotton scrim fabric, poured hot soapy water, and engaged in continuous rubbing. I discovered that this state allows easier control over the finer, shorter fibers of the wool, which creates a warm yet lightweight cloth. The technique does not involve sewing, it is simply assembling and felting together pieces of cloth.
Items created in this manner not only draw from natural sources but also contribute to returning to nature, and possess biodegradable clothing pieces. However, before stumbling upon this technique, I was unaware that this is known as Nuno felting, a fabric felting technique developed by Polly Stirling around 1992, evolving felting wool fibers onto a lightweight base fabric.

As you mention on your website, people were with you together to complete this tent through participation, touch, and sharing. Was it an experience for the public to be entangled in your created environment surrounded by evident handcrafted objects? How was the public reaction?

Chien-Chung, Hung: At the exhibition, I provided wool and needles, inviting the audience to join me in completing this tent. Some people told me that, in this era of mass standardization and mechanization, they had never experienced the felting process of wool and were unaware of the possibilities of felting wool. Consequently, they found this process to be quite magical, sparking their interest in exploring more crafts. Through this interactive and conversational process, the knowledge of the craft technique was passed down to the audience. And it is precisely this act of bequeathing knowledge that tradition and creativity lasts.

Interview with Chien-Chung, Hung by Rita Trindade | Videos by Chun-Fu, Su