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Fringe/Indifference － A Study of Ink Creation of Desolate Images
You Jun Wang
Ho Huai Shuo
Zheng Qian Shen
Drawing is an act of endless exploration. Following the artist’s personality, preferences, and capacity and holding onto the principle of innovation, the exploration marches onward. However, through project creative studies, in depth management of the works is even more important than collecting a large number of creative materials. The study and organization of theories and the experimentation and development of techniques are major challenges. The author plans to discuss related theories and literature and combine them with actual creative process. It is hoped that theory and practice are both achieved, thus reaching the goal of melting sense and sensibility in works of art. This dissertation is titled “Fringe/Indifference--A study of ink creation of desolate images.” The subject of this series of creative works is primarily the people at the bottom of socioeconomic strata and those on rural fringes. The technique used is fine brush with light colors. Tea is also used as a substitute for paint in relief shading to create the feel of desolation, bleakness, and stillness. There are six chapters in the dissertation. Chapter one is the introduction. Chapter two discusses the origins of fringe society and the underclass. Chapter three is on the concept of fringe and the discussion of the thought process in ink creations. Chapter four is about the author’s own creative thoughts and how they are expressed. Chapter five is the creation of the works and their analyses. Chapter six is the conclusion. There are three main topics of discussion in the dissertation. First, from studying the literature on art history, theory of painting, and sociology, the content, characteristics, and nature of the subjects are better understood in the creative process. Furthermore, the advantages and disadvantages of pen, ink, color, and water have been deeply explored to serve as guides and references during the creative process by combining the analysis of past theories and the experiences of past creative processes. Lastly, field observations and esthetic explorations have been utilized to understand the intrinsic characteristics and beauty of the underclass and rural fringe subjects, which are used as references of the works’. Painting is a limitless pursuit. Perseverance and patience is the key to success. The subjects of this creative study are the fringe subjects of rural mundaneness and the underclass. Fine brush technique is used in lieu of the author’s usual ink painting. Through new subjects and attempts on new techniques, new pictorials are created. The author also wishes to express care and concern for the rural land and the underclass in Taiwan.
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