當代自然神話衍義─「比‧異‧彼‧亦」 林倖安水墨創作自述

Abstract

此次為探討筆者自進入研究所階段2011年到2014年間，透過所學重新檢視過往的創作脈絡及創作歷程 以「神話」為媒介，經由研究傳統神話與現代神話的功能、結構、目的與背後所蘊含的意義，尋找與自身創作的關聯性，並以「自然生物」的寫生為主題，重新再造「傳統神話」文本敘述的神靈形象 以傳統水墨、膠彩技法和質地氛圍進行創作表現。 以傳統為限制，由創作者經驗出發，重新創造自我建構的當代神話，結合社會意象進行主體性討論人與人、人與自然、人與社會、社會與自然，以及創作者與這些相對現象，彼與此之間的關係 進一步探尋主客體之間的差異性與不和諧現象，如何自東方文化傳統出發，與高科技現代全球化社會連結，透過不和諧而尋求和諧，並藉由畫面的和諧反諷當今社會充斥的浮誇風氣與人性強欲貪婪的不足之處。

This paper will present author’s review and re-exam on author’s ideas of art works and coherence by applying what author has learned during the 2011-2014 post-graduate school. The myths are taken as a vehicle to search its correlation with author’s works of art and it is done by studying the function, structure, purpose and metaphors of traditional and contemporary myths. Meanwhile, nature living being is used as the topic to recreate divinity images described in traditional myths texts. The skills and texture of traditional ink and glue painting have been applying to demonstrate the art works. On the basis of tradition, author applied experiences to re-create contemporary myths of self-construction. Social imagery has also adopted in order to research the following relations; man and man, man and nature, society, society and nature, the creator and these phenomena, and all correlations of objects stated above. Moreover, it is set to inspect the diversity and discord of subjective and objective targets , to link oriental culture tradition and societies globalized by high technology, and to pursuit harmony through various conflicts. And the tranquility on paining images is to emphasize and manifest the contrast of the societies surrounded by materialized vanity and what have lost because of greediness of human being.