Flying fish thrive in warm, tropical and subtropical surface waters, often swimming in groups, and feeding on zooplankton. They are vital prey for large migratory fish. In Taiwan, the arrival of the Kuroshio current in spring signals the beginning of the flying fish season —a significant event for Taiwan's fisheries and the cultural heritage of the indigenous Dao people of Orchid Island.
Orchid Island, known as the "Hometown of Flying Fish," holds deep cultural ties with these creatures. The Dao people have established sustainable fishing practices that respect marine life. During the flying fish season, they halt deep-sea and benthic fishing, focusing solely on flying fish using traditional, manpower-only methods. This practice supports the conservation of deep-sea fish and coral reefs.
However, recent commercial overfishing across Taiwan, driven by the demand for flying fish eggs — dubbed "Marine Gold" — threatens this delicate balance. Exported extensively to Japan and the EU, with annual shipments reaching 40 containers, this practice has drastically reduced flying fish populations. Such exploitation ignores the importance for sustainable marine management, which the Dao people embody through their restrained fishing practices and integration of conservation into their way of life.
The "Flying Fish" model represents my most intricate design since the "Pangolin." It incorporates elements significant to Dao culture: the upward-flying fish, the tortoise, the traditional boat's eye, and a base resembling rolling waves. Designing this model entailed careful consideration of shapes, mechanisms, material resilience, assembly processes, and printing optimization. Despite its challenges, this creative journey is immensely fulfilling, blending art with cultural homage and environmental consciousness.
Thanks to SpiderMaker for sponsoring the creation of this work.
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