Please use this identifier to cite or link to this item: http://rportal.lib.ntnu.edu.tw:80/handle/20.500.12235/114786
Title: 創作的他者與脈絡的褶曲:吳柏嘉繪畫創作研究
The Other and the folds in Creative Context: Studies in Painting by Po-Chia Wu
Authors: 蘇憲法
吳柏嘉
Wu, Po-Chia
Keywords: 他者
越界
褶曲
根莖文體
量子力學
the Other
transgression
the Folds
rhizomatic writing
quantum physics
Issue Date: 2019
Abstract: 本論文的研究動機即根源於筆者博士班進修期間對於自身創作系譜的總體反省下,創作系列與系列之間脈絡的非典型斷裂所造成的創作處境所開展的思辨與探究。 研究內容主要分為「創作脈絡的非典型斷裂」、「創作思想的原地轉型及其模態」與「繪畫及視覺的依存關係」三大部分探討。 筆者創作系列與系列之間並非真的無關又非完全延續相關的「非典型斷裂」應該如何認識?創作脈絡的藕斷絲連是否能透過創作觀念的「原地轉型」重新看待,如傅柯在《知識考古學》裡的激烈陳述:「決定絕對不忽略任何不連續性、斷口、門檻或界限之形式」,視其為思想越界及褶曲的結果?繪畫創作作為一種呼應自我生命與世界之間的關聯狀態之擬像物存在,不作為溝通或宣傳的載體,作品存在意義即為其存在本身,要如何以繪畫實踐這樣的創作理念? 文獻研究主要援引傅柯的相關著作及德勒茲《千高台》作為理論研究的語境佈置,並列舉現代藝術領域中創作理念或思考議題與筆者具有親緣性的三位傑出藝術家,分別是葛哈・李希特、羅伯・莫里斯和艾倫・卡普洛作為思想實踐的證印。 作者、作品與作者之創作論述書寫三者之間,應該是追求同質性的差異展現。透過文獻學理的爬梳與折返,藝術家的作品分析,配合筆者對於當代物理科學及拓墣學的好奇,企能擺脫自我禁錮,將創作脈絡延續上的窒礙,轉念視其為思想越界及褶曲的契機,作為本篇論文的進階研究與實踐。
The research motive of this dissertation is rooted in a comprehensive review of the author’s works created during doctoral studies. An analysis and exploration of the atypical break between creative series is launched. The dissertation’s research content has been divided into three primary categories to further explore: “the atypical break in creative context”, “ the ‘transformation autochtone’ and modality of creative thinking” and “painting’s dependency on the visual”: How does one comprehend the “atypical break” that seem related yet not entirely continuous between the author’s painting series? Can the incomplete break between the series be reconsidered through a “transformation autochtone” on creative concept? As Foucault passionately states in The Order of Things: “decisions shall never neglect any form of discontinuity, rupture, threshold or limits” – can it be recognized as the result of transgression or folds in thought and idea? The significance behind the existence of painting is its existence itself; painting is no longer a carrier to communicate or propagate because painting now acts as a simulated matter that echoes the connection between the artist’s life and the world – but how does one practice such concept through painting? The dissertation’s research context will mainly refer to Foucault’s writings and Deleuze’s A Thousand Plateaus. Three exceptional artists – Gerhard Richter, Robert Morris and Allan Kaprow – whose creative concepts and issues that concern them present some parallels with the author will also be discussed as validations of the author’s research and thoughts. Between the artist, their artwork, and their written discourse, varied exhibits of a homogenous nature should be the ultimate goal. Through exploration and debate of literature and theories, analysis of works by art masters, together with the author’s curiosity in the realms of contemporary physics, science and topology, the author attempts to be rid of own’s shackles and treat the ambiguity of such creative context as the folds and transgression of ideas and thoughts, which wil serve as the advanced research and practice of this dissertation’s proposition.
URI: http://etds.lib.ntnu.edu.tw/cgi-bin/gs32/gsweb.cgi?o=dstdcdr&s=id=%22G0899600118%22.&
http://rportal.lib.ntnu.edu.tw:80/handle/20.500.12235/114786
Other Identifiers: G0899600118
Appears in Collections:學位論文

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