| Abstract: | 創作是一種自我完成的歷程—創作者必需經歷重重困頓，在這之間形成其創作語彙。因此，緒論中描述我輩年輕膠彩畫創作者，在面對歷史與當代、傳統與創新所形成的糾結中，企圖發展出不違背自我並且可和中國繪畫精神合流的膠彩畫。再經由觀察學院中膠彩畫發展現況，以及膠彩與水墨在材料上交互使用的情形，進一步探討如何從文人寫意中汲取養分，企圖碰撞出另一種可能性。第二章則是以精神和物質兩個層面陳述經驗對於創作的影響。在物質上，個人對人生的看法影響了題材選擇；簡約的現實生活經驗則使得創作上的材料選擇趨向「少即是多」的概念。至於精神導向，「唯心主義」表現在看待事物的角度上，創作中邊界的朦朧不明確是源自對觀看世界的不明確。第三章進入城市陌影的主線，解釋現代化都市中的非空間，這些公共空間指涉了西方文化對東方社會的影響；資訊快速流通及資本主義使都市風貌趨近類似，我就以眼見的庶民生活來創作。 前文探討了事、時、地和物，接著追溯影響創作的關鍵人物，日本畫家小倉遊?和飯田祐子。這二位藝術家生存年代相距一個世紀、使用不同媒材創作、一位禪修一位旅行，但都由生活經驗中取材且別具隻眼。第四章以題材-人造的風景和精神-念舊與鄉愁來分析作品，加上基本的圖說來審視作品脈絡。 基本上這些作品貌不驚人，沒有出奇之處，但是隱含了我的思想、觀看世界的角度，以及困頓。藝術創作的企圖通常在於根植傳統但同時悖離傳統，東亞的當代藝術發展尤是。這是一個緊箍咒，不過只有把金箍套在頭上時才發生作用。而我所努力的方向，是遺忘這個金箍。
Creation is a process in which to draw a closure, a process of self realization, in the sense that the creator has to endure one obstacle after another, and, to construct a creative language of his/her own during the process. Consequently, the Introduction depicts the younger generation of glue color painters in their attempts to develop the type of glue painting/Asian Gouache that follows one’s true inner self while staying in coherence with the Chinese painting traditions and spirits when involved in the whirlpool of history and modernity, as well as tradition and innovation. Further, observations are being made regarding the current development of glue painting/Asian Gouache within the academia and the interplay of glue paint and black ink, as part of the advanced exploration on how to draw inspiration and nutrients from a tradition of conceptual painting; the endeavor is to spark off further possibilities in creation.Chapter II describes the impact of experience on creation from the spiritual and material dimensions. Materially speaking, one’s personal perspectives on life will determine the choice of subject matters; a minimalistic real-life experience will drive one’s choice of creation materials towards a ‘less is more’ concept. As for the spiritual orientation, Idealism manifests itself in the way the world is viewed, and the blurred undefined borders seen in creations are derived from the uncertainties in how to view the world. Chapter III enters the main narrative of the alien urban landscapes and expounds on the modernized urban non places. Such public space illustrates the impact of western culture on oriental societies. The rapid exchange of free-flowing communication and capitalism are drawing urban landscapes towards mutual assimilation, hence the root of my creation that looks no further than the everyday life as presented in front of my eyes. The Preface explores certain events, timings, places and objects, and then traces pivotal figures that have influenced my creation: the Japanese painters, Yuki Ogura and Yuko Lida. These two artists lived one century apart, used different materials for creation; one was engaged in Zen practice and the other was engaged in traveling; both drew inspiration from life experiences with unique third-eye appreciation. Chapter IV presents analysis and critiques of works according to subject matters: man-made landscapes and spirits; reminiscence and nostalgia, along with rudimentary graphic illustration to examine the trajectories of creations. Fundamentally, these works are unassuming, exhibiting nothing extraordinary, and yet are embedded with my thoughts, my angles of viewing the world and all the impasses in between. The ambition behind each art creation is usually rooted in tradition, while rebelling against it at the same time, contemporary East-Asian art development being one case in point. What we have here is a JinGuZhou (a ‘headband of curse’ as worn by the Monkey in Journey to the West) which can only exert its power when worn on the head. All the while, the aim of my efforts is to remain oblivious to the ‘headband’, to forget its presence. |
