我們總是依賴於概念上所認知的「存在」與「不在」的狀態框架，而「未參與的存在」字面上意旨著實際的存在，又非真實的介入其中。這裡的「存在」不單僅是描述對象物的名詞存在，而必需實際佔據時間與空間也被真實的經驗到，才能成為我們眼睛前所得到的「存在」，又或者存在於心靈中的「存在」；「不在」有別於實體的存在，是一個缺席的存在與記憶中所建構的景象之間，結構出不被所見的「存在」；於是始終無法明確何謂才能稱為真實的「存在」。 此論述分為四個部分；第一章最初；做為陳述整個創作的開端，及個人與家族記憶為大學至研究所創作的議題發展。第二章負的書寫；創作上對家族影像消亡的研究和平面繪畫的媒材使用與研究方法。第三章日夢裡的空間敘事；主要談論研究所開始的空間裝置與作品形式分析。第四章結語；整理創作過程所帶來的影響與轉變。 Our perception always depends on our conceptual realization of “presence” and “absence.” The “Existence of Absence” suggests the actual presence without really participating in it. The “presence” here is not merely about naming the objects, but also substantially experiencing the time and space being taken by the objects, while the both together define the “presence” in front of our eyes and in our minds. Different from the actual presence, “absence” is the invisible presence constructed between the absent being and the vision visualized in one’s memory. Therefore, a clear definition of the actual “presence” never exists. The thesis includes four chapters: the first chapter “Beginning” states how my college and graduate project initiated as well as its artistic development based on my personal and family memory; the second chapter “The Writing of the Negative” discusses the vanishing family images, the use of media of two-dimensional painting and its practice; the third chapter “The Narrative of Space in the Daydream” is an analysis of my space installation, a practice I started in graduate school, and the form of the works; the fourth chapter “Conclusion” lays out the transformation of the whole artmaking process and its effect.
