感知萬物細緻循環，擁抱自然流動的餘裕：專訪織物藝術家 Mona Sugata

 

Mona Sugata (Photo Credit: Mona Sugata ) 

 
 

第一次看見 Mona Sugata 的作品時，很容易被立體織物層層堆疊的姿態吸引。它們雖不是如同真實植物再現，反而更像是將對植物的記憶重新組合後的形狀：顏色暈染沿著剪裁邊緣擴散，葉片在鐵件支撐下微微彎曲，花朵像是在定格在某個正要展開的瞬間，大自然的奧妙彷彿以另一種姿態呈現在眼前。

能夠完成這些唯美又超現實的藝術作品，或許與Mona對材料的敏銳度和過往經驗有關。在成為布藝創作者之前，Mona 曾於 Tiffany & Co. 從事珠寶雕刻長達十年。每次在雕刻字母時，指尖些微的震動都會影響成品的樣貌，形成難以抹滅的痕跡；為了讓線條穩住，她必須相當集中專注力，連呼吸的節奏都要跟著放慢。也因為這段經歷，讓她開始思考關於材料的運作，是否能夠與不同的異材質產生不一樣互動。

而布料為她開啟了嶄新的方向。由於棉布柔軟輕盈，可變動性大，這些自然形成的皺褶與微妙變化，是金屬不具備的特性，也是引導她踏入纖維世界的主要原因。

 
 

  • At first glance, Mona Sugata’s three-dimensional textile works captivate with their layered forms. They are not literal reproductions of botany, but rather reassembled memories of nature: dyes bleeding along cut edges, leaves curving gently over iron armatures, and flowers frozen in the moment of unfurling. They present the mysteries of the natural world through a distinct, surreal lens.

    Sugata’s tactile sensitivity stems from her previous decade-long career as a jewelry engraver at Tiffany & Co. Engraving letters required intense focus; the slightest tremor in her fingertips would alter the metal, requiring her to slow her breathing to stabilize her lines. This experience with rigid control sparked a curiosity about how different materials interact, eventually leading her away from the unforgiving nature of metal.

    She found her answer in fabric. The softness, mutability, and natural wrinkling of cotton offered qualities metal could not—a shift that guided her into the world of fiber art.

 
 

Photo Credit: Mona Sugata

 
 

從剛硬金屬材質轉化為柔軟織物的渴望



HC：妳曾在 Tiffany & Co. 擔任珠寶雕刻師長達十年，是如何從金屬材質跨越到織物與貼花藝術？

Mona： 在珠寶上雕刻字母是一項需要極高專注度的工作。指尖只要有一點輕微的顫動，刻痕就會被留在金屬表面。十年下來，我的身體逐漸形成一種自然反射——注意力會落在最細微的一點，甚至都要平穩的控制呼吸。

而這也讓我意識到，自己好像想離開那種完全「控制」的狀態。我開始渴望一種可以跟著身體節奏呼吸的材料。布料就是在那個時候進到我的生活裡的。 布料輕盈柔軟，能夠吸水透氣，可以任意改變樣貌。這種不穩定性對我來說非常自然舒服。

 
 

  • From Rigid Metal to Soft Textile

    Q: You spent ten years as a jewelry engraver at Tiffany & Co. How did you transition from metal to textile and appliqué art?

    Mona:
    Engraving letters onto jewelry demands extreme concentration. If my fingertips trembled even slightly, that mark was permanent. Over a decade, my body developed a reflex to hyper-focus on the tiniest point, even controlling my breathing to remain steady.

    Eventually, I realized I wanted to leave that state of absolute control. I began craving a material that could breathe in rhythm with my body. That is when fabric entered my life. It is light, breathable, and mutable. That inherent instability felt natural and comforting to me.

 
 

Photo Credit: Mona Sugata

Photo Credit: Mona Sugata

 
 

HC：貼花（appliqué）一詞承載著「附著、連接與分層」的意義。這個詞在妳的作品中代表什麼？

Mona： 縫製布料，對我來說，就像是把不同的事物連結在一起。當兩塊布被縫合後，會形成新的樣貌，進而會開始互相影響；顏色的深淺會互相帶動，布紋的方向會引導視線，縫線則成為細微的脈絡，把它們連成新的狀態。

世界原本就是由無數個層次構成，因此，我希望自己的作品也能成為其中的一「層」。

 
 

HC：為何選擇未經處理的棉布作為主要材料？它賦予作品什麼樣的特質？

Mona： 我很早就喜歡未加工的棉布。它吸收水分時會變得柔軟，出現細小皺折；乾燥後，又會回到另一種緊實的質感。我覺得「材料本身的變化」和植物的生命節奏很接近。

我也喜歡棉布的表面質地，光照射時不會強烈反射，而是被纖維吸收，呈現比較溫和、安靜的亮度。這讓布花在空間裡能自然融入，而不會突兀。

 
 

  • Q: Appliqué implies attachment, connection, and layering. What does this term signify in your work?

    Mona:
    To me, sewing is fundamentally about connecting different elements. When two pieces of cloth are stitched together, they form a new appearance and begin to influence one another; shades of color interact, the grain of the fabric guides the eye, and the thread becomes a subtle vein connecting them into a new state.

    The world itself is composed of infinite layers. I simply hope my work can become one of those layers.

    Q: Why do you choose raw cotton as your primary medium?

    Mona:
    I have always been drawn to unrefined cotton. It softens and wrinkles when it absorbs moisture, then returns to a tighter texture when dry. I find this material shift very similar to the biological rhythms of plants.

    I also love its texture. It doesn’t reflect light harshly; instead, the fibers absorb it, producing a gentle, quiet luminosity. This allows the floral forms to blend naturally into a space without being obtrusive.

 
 

Photo Credit: Mona Sugata

 
 

HC：妳的作品並非直接模仿真實的植物；相反，它們似乎蘊含著一種抽象的、象徵性的存在。妳是如何觀察和重新詮釋自然形態的？

Mona： 與其說是捕捉大自然，不如說我是用雙手在收集自然中流淌的「訊號」。風中搖曳的瞬間，枯萎時的輕盈，或是花苞中蘊藏的壓力。植物的形態並不寫實，但或許更接近我所感知的記憶。

 
 

  • Q: Your works are not direct imitations of real plants; they feel more abstract and symbolic. How do you observe and reinterpret natural forms?

    Mona:
    Rather than trying to capture nature realistically, I use my hands to collect the "signals" flowing through it—the moment a plant sways in the wind, the lightness of withering, or the tension stored inside a bud. The forms aren't realistic, but they are perhaps closer to the sensory memory of what I perceive.

 
 

Photo Credit: Mona Sugata

 
 

在手中展開與布料的對話



HC：妳如何看待「雙手」在創作中的角色？它是技術、直覺，還是情感的延伸？

Mona： 我不把手當成只負責技術的工具，也不認為它完全是憑感覺執行。首先，我會清楚地構思自己想要的作品，然後合適的工具、顏色、形狀、尺寸等就會自然而然地浮現出來，再經由我的雙手把想像變成真實。

我的雙手既連著意識，也幫助我與世界產生連結。

 
 

  • A Dialogue Between Hand and Material

    Q: How do you view the role of your "hands" in creation? Are they tools of technique, intuition, or an extension of emotion?

    Mona:
    I don’t see my hands merely as tools for technique, nor do they operate solely on feeling. First, I clearly conceptualize the piece. Then, the right tools, colors, and shapes naturally surface, and my hands serve as the bridge to turn that imagination into reality. My hands connect my consciousness to the physical world.

 
 

Photo Credit: Mona Sugata

 
 

HC：妳把創作過程描述為「與布料的對話」。這段對話的本質是什麼？

Mona： 布料的反應常常超出預期。布料遇到顏料本來就會滲透、擴散，顏料可能比想像中更快暈染，也可能往不同方向流動。我不會試圖去完全控制狀態，而是思考它們如何在作品裡展現得更自然、更美。

「我要如何利用這些自然的變化？」、「我該怎麼運用它，使其呈現更美的效果？」—— 這就是我說的「對話」。接受這種不可預測性，正是我作品的核心所在。當作品留有一些自然形成的痕跡時，它反而更能展現生命力。


HC：不規則或不完美對手工藝而言有何重要性？

Mona： 完美的形式中似乎蘊含著過多的壓力，好像形體在屏住呼吸。而那些微小的偏差、不一致的線條，反而讓作品保有生命感。它們賦予作品一個可供觀者進入的空間。

 
 

  • Q: You describe the process as a "dialogue with the fabric." What is the nature of this conversation?

    Mona:
    Fabric often reacts in ways I don't anticipate. Dyes bleed and spread faster or in different directions than expected. I don’t try to dominate these moments. Instead, I ask: "How can I utilize this natural change? How can I work with this to make it more beautiful?" That is the dialogue. Accepting unpredictability is the core of my work. When a piece retains traces of these natural occurrences, it possesses more vitality.

    Q: What is the importance of irregularity or imperfection in craftsmanship?

    Mona:
    Perfect forms seem to hold too much pressure, as if the object is holding its breath. Slight deviations and inconsistent lines allow the work to feel alive. They create a space for the viewer to enter.

 
 

Photo Credit: Mona Sugata

 
 

Photo Credit: Mona Sugata

 
 

經由布藝貼花與內在相遇



HC：妳如何在花瓣、褶皺、脈絡與莖幹裡尋找一種「內在的生命」？

Mona： 葉脈的走向、花瓣的層疊、莖幹些微的彎度等，所有這些元素都在與我們人類體內的「能量流動」相呼應。這些能夠使觀者感受到作品中奇特且栩栩如生的特質，彷彿他們正在凝視一個活生生的人類。我喜歡這種奇妙的感覺。

在強光之下，作品的輪廓會被凸顯；在柔和的光線下，它彷彿與空氣融合。對我來說，作品不是固定形態的「物件」，更像是一種「現狀」，是一個會隨光線、空氣、時間而改變的存在。

 
 

  • Meeting the Inner Self Through Appliqué

    Q: How do you find "inner life" within the petals, folds, and stems?

    Mona:
    The flow of leaf veins, the layering of petals, the slight curve of a stem—these elements resonate with the energy flow within the human body. This allows the viewer to sense a peculiar, lifelike quality in the work, almost as if they are gazing at a living being.

    Under strong light, the silhouette is sharp; in soft light, it seems to merge with the air. To me, the work is not a fixed object, but a "current state"—an existence that shifts with light, air, and time.

 
 

Photo Credit: Mona Sugata

 
 

HC：如果要用一種非視覺的感官來形容您的作品，妳會選擇哪一種？為什麼？

Mona： 我會選擇「氣味」。雨後泥土的芬芳，清晨空氣的清新，能淨化心靈的氣息。布藝花朵可以用眼睛看到，但我更希望觀者能記住呼吸的「感覺」。


HC：妳的作品出現在畫廊、精品店，有時也出現在私人住宅。您希望觀者如何親近或觀看妳的作品？

Mona： 如果可以，請保持一點距離。我希望他們能感受這空間的空氣和光線，彷彿能感知到整個空間的存在，而讓自身也融入其中。我希望他們能感受到花朵的存在，而不是它們的形狀。

 
 

  • Q: If you had to describe your work using a non-visual sense, which would you choose?

    Mona:
    The smell of soil after rain, or the crispness of morning air—scents that cleanse the mind. While the textile flowers are visual, I want the viewer to remember the sensation of breathing.

    Q: Your work appears in galleries, boutiques, and private homes. How do you hope people approach or view your art?

    Mona:
    If possible, I’d ask them to keep a little distance. I want them to feel the air and light of the space, perceiving the work’s existence within that atmosphere, allowing themselves to dissolve into it. I want them to feel the presence of the flower, not just see its shape.

 
 

Photo Credit: Mona Sugata

 
 

HC：妳曾提到作品能被修復與延續。這是否與妳的永續思考或工藝倫理相關？

Mona： 「被修復」意味著這項工作「永無止境」。織物、植物和人都在不斷地重生。「修復」一詞本身就體現了這種自然循環的意義。

對我而言，花是「一份小小的祈禱，提醒我記住這美好的世界」。我將注意力從外界移開，重新聚焦在自身，然後深呼吸。如果觀者能因此在內心深處感受到那份寧靜與滿足的溫暖，我就感到很滿足了。

 
 

  • Q: You’ve mentioned that works can be repaired and continued. Does this relate to sustainability or an ethos of craft?

    Mona:
    To be "repaired" means the work is never truly finished. Textiles, plants, and people are constantly being reborn. The very concept of repair embodies the significance of this natural cycle.

    For me, a flower is "a small prayer, a reminder of this beautiful world." It shifts my attention from the outside world back to myself, allowing me to take a deep breath. If a viewer can feel that same quiet warmth and satisfaction deep within, I am content.

 
 

Photo Credit: Mona Sugata

 
 

Photo Credit: Mona Sugata

Photo Credit: Mona Sugata

 
 

於細微觀察中，感受建立與世界的連結


Mona Sugata的創作旅程，從對「全然控制」的追求，走向對「自然循環」的接納。她藉由未加工棉布的柔軟與變化，在作品中捕捉到一種既抽象又猶如生命體般的氣息。她的布花藝術以安靜的姿態，等待觀者放緩腳步，感知與身體內部流動同步的節奏，以及內心深處那片寧靜的溫暖。

這些作品隨著光線和空間的變化而曖昧不定，像是提醒著我們生命的短暫，以及所有事物不斷重生的自然循環，也像是對於一種更緩慢、更專注的生活方式的微小祈禱，引導我們藉由一朵花或是一片葉，甚至是周圍的自然景觀，重新與世界建立連結。

 
 

  • Mona Sugata’s creative journey has moved from a pursuit of absolute control to an acceptance of natural cycles. Through the softness and mutability of raw cotton, she captures an atmosphere that is abstract yet unmistakably alive. Her textile art waits quietly, inviting viewers to slow their pace, sync with their internal rhythm, and find a warm stillness within.

    Ambiguous and shifting with the light, these works remind us of the transience of life and the constant rebirth of all things. They act as small prayers for a slower, more focused way of living, guiding us to reconnect with the world through a single flower, a leaf, or the landscape that surrounds us.

 
 

Photo Credit: Mona Sugata

 
 

認識 Mona Sugata
Web / IG

 
 

Photo credit/ Mona Sugata
Interview、Text/ Lin

 
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