Chat With Celebs


Gu, Wen-Min
Flower creation artist

Keen on conflict aesthetics.
The so-called conflict and destruction is not real destruction, but rather an attitude and spirit, which lays emphasis on breaking the framework of thinking, empathy and a mindset and thinking differently. Destructive flower art is not aimed at destroying a real thing but rather the ideals in your mind. Through destroying a fixed frame of mind, a soul can be reconstructed and injected to create various visual effects in flower art. In addition, the relationships among people, plants and spaces can be redefined.

Conflict aesthetics
I make use of craft, sculpture and design to create the conflict aesthetics that belong to me and plants in a space.

Ku flower https://www.facebook.com/kuflowers/

Q & A

Q:How do you start your day?

A:I wake up, have a coffee, and look at my working wall, and think of today’s plan.


Q:Where do you visit the most?

A:Yangming mountain. Close contact with nature can give me inspiration.


Q:Which restaurant do you often visit?

A:“Sesame paste noodle” in the traditional market of Nangang. I would highly recommend the sesame paste noodle with mixed soup.


Q:What do you do for leisure after work?

A:Clean my studio and change my working environment. My studio is located in Nangang. You are very welcome to visit.


Q:What book have you recently read? Do you have any realizations or feelings about the book?

A:”When modern design meets traditional craft” by Toshiyuki KITA

I would recommend this book, which illustrates the combination of traditional industries and modern industrial design. Design can ameliorate the difficulties that traditional industries face due to different eras, and re-define the value of traditional industries! The book says that while learning traditional craft, Mr. Toshiyuki KITA deeply appreciates the entire production process and local cultural background. This allows him to create an object with its soul by design and discussion during the learning. When soul is injected into traditional craft through design, the crafts will resonate with the products, and the users will be touched, further feeling and understanding the culture of local traditional industries.

For me, appreciation for understanding and discovering traditional craft is very important as it requires accumulation of time and experience, and actions. I deeply admire those who emulate these characteristics that I see in this book. They change the ability of design in traditional craft, and find a new style. Their efforts make the products meaningful and full of aesthetic, and meanwhile design and function can both be achieved, which elevates the value of the products to another level.


Q:What do you find the most interesting or appealing in Taiwan?

A:I strongly recommend a private spot called Four Beasts Mountain, which is connected by four mountains. Along the way, you can see the mountain change according to different lights or heights and you can feel the power of nature.


Q:What are your expectations of staying at the Hotel?

A:An atmosphere created by unique characteristics and spaces that make the stay feel like home.


Q:What is your impression of the hotels of Taipei Inn Group?

A:I am impressed with the CityInn Hotel Plus Fuxing N. Rd. Branch. The architecture created from exposed concrete complements the display of art works. There is a feeling of Zen and comfort, and the staff is friendly and active.

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