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| Title: | 日子正是在這樣微渺的事物上蛛結成網 |
| Other Titles: | On these small things, day life is weaved into a web |
| Authors: | 陳儷方
Chen, Li-Fang |
| Contributors: | 李貞慧
Lee, Chen-Huei
美術學系 |
| Keywords: | 微物之神;意象;物哀;遺骸
imagery;mono no aware;remains;The God of Small Things |
| Date: | 2016 |
| Issue Date: | 2017-07-17T01:41:09Z (UTC)
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| Abstract: | 「日子正是在這樣微渺的事物上蛛結成網」挪用《微物之神》書封短句作為本篇論述的題目，記述2012-2015年的創作歷程，以觀照日常生活中的微渺事物為創作主軸，展開對創作觀以及創作實踐的探討。對我而言，創作即是積累，環繞在日常的刻痕，無形中不斷悄然碰撞、傳遞豐富訊息。在緒論中，闡述了創作之於我的關係，以及我之於真理的暗喻。我們如何覺察訊息、為之解碼後，透過創作者的眼與心，轉化為作品？為後敘的文脈鋪述。第二章以拼圖的暗喻，分別以意象、軌跡、質料、書寫，串連爬梳創作脈絡時，使看似斷裂的系列之間，得以相互對話的可能。至於創作實踐的進程，則收錄於三個章節，分別為：盛夏的秋天之樹、過渡之語、此曾在此的遺骸，敘述不同階段的創作關懷，以及促使發想的事物。在第三章，自衰敗植物寄託傷逝情緒起手，再至感官經驗中捕捉氣味，開始對逝去之物的興趣。第四章則步入創作歷程中的轉折，看來或許相對異質，實則在面對困頓的時刻，意圖改變基底材與表現手法，藉此尋找新的可能性。第五章所試圖討論的是，剝除物像輪廓後，不斷幻變的生命狀態，融貫前兩章中對不同題材與表現形式的探索。將物哀意象的納入，探尋擺渡於逝與生之間，如蛛網般寂靜輕盈的遺骸。行至文末，回顧自身創作歷程，以及對未來創作計劃的期許，則收錄於結語。
“On these small things, day life is weaved into a web.” Cited from the book cover of The God of Small Things (Mandarin Chinese version), the quote serves as the title of this research discourse, which records my personal creative process from 2012 to 2015. With a focus on the minute things in daily life as the essence of creation, this research unfolds my personal creative perspective and practice. For me, art creation means accumulation; the notches that surround our daily life collide with each other silently and unceasingly, conveying abundant messages at the same time. In the introductory chapter, I explain how my creative works are related to myself, and the metaphor of “self” in relation to the “truth”. How are messages perceived, deciphered, and transformed into a piece of art through the eyes and the heart of the creator? This notion thus paves the following discussion.In the second chapter the metaphor of the jigsaw puzzle is utilized. The ideas of imagery, locus, materials and writing link together the possibilities of mutual conversation, though the process is seemingly fragmented. The course of my creative practice is recorded into three sections, which are: Tree of Autumn in Midsummer, Words of Transition, and Remains that Were Once Here. They each narrate the creative concerns in different stages and the things that inspired them. The third chapter starts with the sentiments of entrusting emotions to withered plants, followed by the capture of odors in sensory experiences, and then portrays the interest in things that are gone.The fourth chapter chronicles the transition in my creative process. Seemingly heterogenous, it is in fact a way of attempting to change the supports and expressive methods when I was faced with difficulties. The fifth chapter aims at discussing the ever-metamorphosing status of life after the physical contours are removed, fusing the discovery of different topics and expressions in the previous two chapters. It takes in the imagery of mono no aware, searching and lingering between the deceased and the living, like the remains of tranquille, lithe spider webs. Finally, the retrospection of my personal creative process and my aspirations for future projects are included in the concluding chapter. |
| Appears in Collections: | [美術學系所] 碩士論文
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| 104THU00233005-001.pdf | 3558Kb | Adobe PDF | 263 | View/Open |
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