| Abstract: | 本篇論述將以二ＯＯ九開始的創作為開端，這段期間我以「中性少年」為對象，藉由肖像畫的表現形式創作了一系列以「寵物」為內容主題的作品，並以此為主要論述範圍。 對於這些氣質陰柔，面貌細緻姣好的宛如瓷娃娃般的俊美少年，我有著無可救藥的蒐藏慾望，在此系列創作之初，原僅是想捕捉下模特兒們時而表情挑逗、時而迷濛曖昧的神情與充滿了慵懶和慾望的姿態，探討如何選擇並描繪這般中性、雌雄同體，甚至可說是缺乏性徵的形象。然而在持續的創作過程中，我已無法從單純的擷取模特兒真實樣貌的過程中獲得滿足，因此我開始替少年穿戴上華美的花、翎，以一種極為纖細唯美的手法將花鳥拆解，再將片段重新拼組縫製成為一件件精巧華美的衣飾，也藉由為他們扮裝的動作，我的慾望才能得到舒緩，也使我近期的創作得以成型。 本文中第一章說明創作動機、研究方法與材料和研究內容與範圍。第二章探討在當代消費文化影響下，我如何面對慾望的匱乏和處理的手段。第三章由二十世紀初法國社會學家及哲學家尚˙布希亞（Jean Baudrillard）的「物化」觀點與後現代理論來解釋自身創作中，花鳥符號的挪植拼貼手法與戀物心理的投射並詮釋作品中古典肖像形式的選取以及個人陰翳特質如何在畫面中呈現。第四章的作品解析，將〈小寵物〉、〈羽冠〉、〈妖翎〉這幾個系列作品作一個論述，分析創作過程、繪畫元素、膠彩、技法以及理念等。第五章作為結語，將這一年中的系列作品作一個總合性的省思，提出現階段創作心得與觀點，並略述往後創作發展的可能方向和轉變。
This discourse would be started with the works completed in 2009, during this period of time I focus on the “unisex teens,” with portraits and creates a series of works centered on the topic “pets.” And these are the scope I would like to discuss about. I couldn’t help myself to collect those handsome boys whose faces were as fine as porcelain dolls with tender temperament. In the beginning of creating this series, I once desired to capture those teasing and ambiguity expressions occasionally as well as the gestures filled with laziness and lust. Besides, I also wanted to figure out the ways of choosing and portraying these kinds of unisex images which were androgynous or even lack of sexuality. However, I couldn’t be simply satisfied by the process of catching the feature of the model during the continuing production process. I started to put some flowers and feathers on the young; disassemble those flowers and birds in a tender and beautiful way; then patched those fragments like some delicate clothes. Only by dressing up for them, my desires could be comforted and my lately creation could also be completed.In The first chapter of the text will illustrate my creating motivation, researching methods and materials, and researching content and range. The second chapter discusses how to face the deficiency of desire and how to deal with it under the influence of contemporary consuming culture. The third chapter explains the diverting and pasting technique of the mark with flowers and birds and the projecting on fetishism in the self creation, with the “objectification” viewpoint which is from Jean Baudrillard, a French sociologist and philosopher in the early 20th century, and the postmodern theories, then will explain the selection of the form of classical portraits and how the personal umbrageous qualities being presented in the pictures. Chapter Four is the analysis of works, centered on “Little Pet”、”Feather Hat”、”Fairy”, and will talk about the process of making, painting elements, Asian Gouache , techniques, and ideas, etc. In Charter Five, there I will acclaim my observations and feedbacks during the process of completing my works of this year, and discuss the potential and the directions of my works aftermath. |
