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Today, we visit an exhibition that explores automotive repair craftsmanship through a contemporary lens. Taiwanese artist Wu Chien-hsing collaborated with mechanics to transform discarded car bodies into sculptural installations. FTV reporter Stephany Yang takes us in to see the highlights!

In his latest exhibition, Wu reimagines discarded car bodies as sculptural installations, breathing new life into discarded cars. Working in collaboration with auto mechanics, he fused traditional bodywork techniques with contemporary materials like carbon fiber and cutting-edge 3D restoration technologies. Wu and the mechanics cut, bent, and reassembled car parts, reshaping them into sculptural works of art.

Artist
Wu Chien-hsing
I deconstructed the structure and symbolic language of the car’s underbody. In collaboration with skilled metalworkers, I employed techniques such as hammering, cutting, and welding to showcase technical precision and the artistic value in handcrafted work. This piece integrates four materials: metal, fiber-reinforced plastic molding, the newest technology of 3D printing, and silicone. Each material is dialogue between rigidity and softness, reflecting my personal interpretation of the material. Metal conveys strength and durability, while silicone—its opposite—symbolizes the gentle texture of my father’s hands. With these materials, I also explore the evolution of automotive construction, spanning from the early reliance on iron, to aluminum alloys and finally to the adoption of FRP.

The exhibition explores how manual reconstruction and technical innovation can coexist. Wu was inspired by his dad, who is a car mechanic. He said he has witnessed his family’s business slow down with the decline of traditional industries. Through his artworks, Wu hopes to pay tribute to Taiwan’s auto repair workers as well as encourage viewers to explore what craftsmanship means in the modern day.

Wu Chien-Hsing
Artist
In Taiwan, the term black-hand refers to workers in the mechanical industry. My work is a response and reinterpretation of my black-hand family heritage, especially my father, who was a sheet metal craftsman. In earlier times, black-hand workers typically learned their skills through apprenticeships. The term is widely associated with Taiwan’s working-class laborers.Through this exhibition, I hope to spotlight the unique value of craftsmanship within the labor class, highlighting the diverse techniques and the artistry in manual work. I also aim to use materials as a medium to express the relationship between labor production and value-driven creation. By incorporating 3D printing, I combine past and present technologies—inviting people to reflect on how contemporary methods not only evolve from but also echo traditional practices.

The exhibition will run through Oct.12 at the Museum of Contemporary Art Taipei.

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