Loading...
|
Please use this identifier to cite or link to this item:
http://140.128.103.80:8080/handle/310901/24141
|
| Title: | 形體之外－自凝態 |
| Other Titles: | Beyond Body － Self Solidity |
| Authors: | 林桂蘭
Lin, Kueilan |
| Contributors: | 黃海雲
Huang, Haiyun
美術學系 |
| Keywords: | 小幻物 |
| Date: | 2013 |
| Issue Date: | 2014-02-21 |
| Abstract: | 社會形態與文化風貌必然隨時代的變遷而產生不同的生活方式，身處於廿一世紀藝術思潮中，面對這早已被破除界限的藝術，該如何使用這語言，則是我在創作過程中不斷思考的問題，為弱化作品的表現強度，而取「表達」一詞形構我創作語言的思考邏輯。 女人是我創作的主軸，也是我較能去談的，因為在生活經驗中，我可以藉由自我觀照，來表達某一個維度的女性思維，創作的人物雖不是來自於視覺上的參考物形象，但卻存在著一個「本」，來自於我或是她者。我的作品多呈現出微弱的表達形式，因而讓「觀念」得以置入，「觀念」則成了豐富了我作品上的薄弱狀態，我的創作內容總存在著思維，也存在一種對媒材重新看待的內省，我以「素描」的素色形式，來表達一種純綷的姿態，並以古典繪畫中，在底色加白的階段來表現我在畫面上的對繪畫質感的要求，我停留在一種中間過程的完成階段，那是一種未上色前的飽滿，是尚未被色彩包裝過的狀態，那能讓我感到一種非視覺的真實存在。 創作論述題目為「形體之外－自凝態」，來自於紀傑克（Slavoj Zizek）著作的「傾斜觀看」一書中提及的「小幻物」(the objet a )概念，闡述一種藉由虛構而產生了內在虛幻空間的真實，類似為一種語境所表達出來的無聲勝有聲之勢，我藉由這虛構性為概念，在繪畫創作上，其過程即為我的創作形式亦為我創作的內容，追求的是在繪畫過程中，有意識與無意識間的模糊意識所構築而成的畫面，存在著虛實，那就是我所探求的哲理「形體之外」，而「自凝態」則在闡述油畫顏料、油在畫面上繪畫行為所呈現出的狀態關係。 本創作論述第一章將創作理念、藝術史脈絡尋索，自我剖析影響創作思想的結構與內容。第二章則以另一角度，著重於對「裸?形式」的探討，藉由這層面來剖析對女性與藝術間的輕描淡寫關係。第三章將創作作品中女人的凝態，與社會狀態關係對作品進一步的剖析，並闡述如何以顏料的堆疊手法而將時間、空間凝聚成為藝術創作的經驗，達到「形外到形內」的書寫狀態，傳達某一維度的女人主體意識。第四章將闡述「妳我她?者」系列的創作維度，對於一個「以是妳不是妳、是我不是我、是她不是她，又好像是妳、又像是我、又像是她」的概念加以闡述，以這樣無定形的女性形象來詮釋在這時代所產生的普遍行為，藉以產生「她者」的概念，以更深切的女性觀察，來論述「形體之外－自凝態」的藝術構成。
The social status and cultural appearance change with time and produce various living styles. Living in the artistic trend of the 21st century, facing this already borderless artistic world, how to use the new language of art to express my language in art creation with thinking logic, has been continuously challenging my thought on how to make room for more contents by reducing the strength of the background colors and structure. Woman is the main axis of my creation, which is also what I can talk more, because in real life, I can utilize my self-observation, to express woman’s thinking in certain direction or dimension. Although the human figures created in my art works did not come from visual subjects in reference, but they all have a “base”, came from mine or hers. Due to most of my art works are presented in modest manner, therefore “concept” can merge in smoothly. “Concept” enriches my art works’ modest appearance. In my art works, there are always some philosophical thinking in their contents, and also new ways to review the media from inside. I like to use “plain sketch” with simple and plain colors to present a pure gesture, and use the stage in classical paintings that adding white color to the base colors to reveal the sense of reality in my paintings. I let my art works to stay at a middle stage of its completion, which is a stage full of growing energy before put on strong make-up to package it. It’s like a young and fresh life before its saturation and exhaustion, that gives me a feeling of non-visual yet real existence. The title of this paper , Beyond Body -- Self Solidity, came from the concept of “the object a ” in Slavoj Zize’s Looking Awry, 2006. In this book, Zizek described a reality built in inner imaginary space. This concept is similar to the gesture of well designed silence can be more musical than sound without passion. I utilize this imaginary property as a concept in painting creativity to create the structure which is also the content. In this painting process, what I pursue is the picture build on the blurry region between the consciousness and unconsciousness, there exist both the real and the imaginary, which is my exploration of the philosophical concept of ‘Beyond Body” while the “Self Solidity” is realized on canvas through the relation of oil painting colors and reflection of light by oil. In this paper, the first chapter described what are my ideas regarding art creation , how I had explored the thread of thoughts in art history , and why self-analysis can affect the structure and content in art creation. In the second chapter, I took another angle to focus on the exploration of the “Nakedness – Form”, and through that layer to expose and analyze the delicate relationship between female and art. The third chapter goes further to analyze woman’s solidity and its relation with social status, and describe the experience about using the technique of accumulating layers of colors to solidify Time and Space into artworks. By doing so, a state of writing that covers both the outside and the inside of the body, and delivers woman’s subjective feeling in certain direction or dimension. The fourth chapter will describe the triple relation of a woman’s dialogue and interaction between “You-I-She”, in that series of creative dimension, build up artworks with another layer of “Beyond Body – Self Solidity”. |
| Appears in Collections: | [美術學系所] 碩士論文
|
Files in This Item:
| File |
Size | Format | |
|---|
| 100THU00233004-001.pdf | 1757Kb | Adobe PDF | 152 | View/Open |
|
All items in THUIR are protected by copyright, with all rights reserved.
|
