反覆循環的傷痛

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题名:	反覆循環的傷痛
其它题名:	The Looping Hurts
作者:	王信瑜 WANG, HSIN-YU
贡献者:	徐嘒壎 HSU, HUI-HSUAN 美術學系
关键词:	動態影像;錄像裝置;創傷;過渡禮儀;藝術治療 Moving Image;Video Installation;Trauma;Rites of Passage;Art Therapy
日期:	2019
上传时间:	2019-12-16T03:54:24Z (UTC)
摘要:	創傷經驗讓我開始創作，並且開始關懷周遭的人是否也歷經了一樣的創傷，我試圖將創傷情緒以創作來昇華，而在作品中，創傷情緒是創傷的一部份，卻不是創傷經驗的全部。第一章為「時間在我身上的作用」，說明我的創作動機與背景、創作關懷與以動態影像（Moving Image）的創作媒材，並且閱讀相關文獻。我以創傷中的疾病、消逝作為主要的創作關注主題，並運用動態影像剪片的特性來扭曲客觀的時間，表現創傷者的時間感。藝術創作讓我重新面對創傷經驗，在其中解構、重組，轉化創傷，成為一種「過渡禮儀」，也讓我從人的脆弱中找出提升力量的能力。反覆循環播放是串穿我大部分作品的一個特質，與創傷經驗中重複經歷的「Flashback」有相似的特性，但在創作上這樣的反覆播放觀看的方式，卻更具主動性，且看得更加鉅細彌遺。第二章為「以創作作為過渡禮儀」，介紹我的作品、分析作品的特質和說明創作的技術與比較和其他藝術家的異同。在〈藥物系列〉中，我運用了藥殼、藥物，呈現物品在鏡頭下拍攝與放映後的形象變化，藥品的囤積，也揭示了現代人對於身心狀況的焦慮與不安全感。在〈燃燒系列〉，利用「紙」經過燃燒成為「灰燼」的特質，與消逝作為聯想與探討生命的本質，火的元素使用，與我經歷的生命儀式有很深的關聯，火是一種對生命結束後轉化的媒介；紙鳥的形象，隱含潛意識中對飛翔的嚮往，反應著對脫離創傷的渴望，並藉著火而重生。第三章為「當動態影像進入空間」，觀者必須花時間一起觀看作品，它的呈現需要進入展覽才顯得完整。在動態影像作品的呈現中，有與裝置結合和影像本質的兩種差異，此外我閱讀到了「邊界空間」（Borderspace）的理論，觀者與作品一起共同出現與存在（co-emergence）於展場，成為互相陪伴的關係，我將理論轉化成我對空間的想像，是一種具有包覆感的空間，隱密而安全，能夠分享生命中脆弱的創傷。在技術美學的實踐上，規畫展覽時，必須考量與規畫空間與器材的選擇，並找出呈現作品的最佳效果。第四章為「流轉而前進的時間」，藉由創作，創傷情緒得以轉變，成為了我「創傷後成長」（post-traumatic Growth）的證明，在展場之中，觀者和作品一起參與著我所創造的「過渡禮儀」，以一種安全的方式與創傷共處，感受到與作品互相陪伴的療癒感，並過渡這段在創傷中反覆循環的傷痛。 The traumatic experiences make me begin to create artworks and pay attention to the people who might have experienced the same traumas around me. I try to sublimate the traumatic emotions into creation. In my artworks, traumatic emotions are part of the trauma, but not the whole of it. Chapter One is “The Effect of Time on Me”, explaining my motives and background of creation, plus my literature review. This chapter also includes what I care in my works by using Moving Images as materials. The feature of diseases and disappearance in traumas are the main subject of my creative theme. To express the sense of time of the traumatized, I use the characteristics of Moving Image clip to distort the objective time. Artistic creations help me face the traumatic experience again. Through deconstructing and reorganizing traumas, they can be transformed. As it becomes a kind of “Rites of Passage”, it also makes me see the ability to enhance mental strength from the fragility of human beings. Repeated looping is a trait that can be seen in most of my artworks. It has the similar characteristic to the “Flashback” in traumatic experience, which means experiencing bad memories repeatedly. However, it is also the repeated viewing that helps viewers be able to appreciate my works more actively and more in detail. Chapter Two is “Creation as Rites of Passage”, introducing my artworks, analyzing the characteristics of the works and explaining the techniques of creation. In addition, it compares the similarities and differences to other artists. In the “Drug Series”, I present the changes in images of used drug packages and medicines after shooting and screening under lens. The accumulation of medicines also reveals the anxiety and insecurity of modern people's physical and mental conditions. In the “Burning Series”, I associate the characteristics of “paper” burning into “ash”, with the idea of “disappearance” to explore the essence of life. The element of fire has a deep connection with my life rituals experiences. Fire is a transformation medium after the end of life. The image of the paper birds implies the yearning to fly in subconscious, reflecting the desire to break away from the trauma and reborn through fire. Chapter Three is “When Moving Images Enter the Space”. Viewers must spend time watching the artworks together so as to complete the whole exhibition. There are two different ways when presenting Moving Images. One is the combination of the installation and the other is the essence of Moving Image. Besides, I have read the theory of “Borderspace”, which relates to the viewers and the artworks “co-emerge” in the exhibition and thus become mutual companions. I transform the theory into my imagination of space. It is a private and safe space where people will feel wrapped, and thus they are able to share the fragility of trauma in their lives. In the practice of technical aesthetics, it is necessary to consider the choice of planning space and equipment, and find out the best way to present the work when I plan an exhibition. Chapter Four is “Time Moves Forward”. By creating art works, the traumatic emotions are able to be transformed, and it becomes the proof of my post-traumatic growth. In the exhibition, the viewers and the artworks participate in the “Rites of Passage” I created. People can stay with traumas in a safe way, feel the healing through my works, and be able to get through the looping hurts in the trauma.
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