視覺軌跡：吳怡勳油畫創作論述

Abstract

本研究以「視覺軌跡」為核心，透過視線的流動與觀看方式，探討當代人際交流的形態與關係張力。以「潛影」為創作起點，關注交流過程中微妙且未被察覺的情感動勢，透過視覺線索重構互動的痕跡，呈現溝通中的距離、凝視與流動。作品初期以視覺動勢為主軸，記錄並轉譯人際互動的觀看方式，使觀看者在視覺流動中感受關係的牽引與變化。後續發展「餐桌系列」，將「吃飯」作為交流的日常儀式，透過食物與身體互動，挖掘視線交錯間的情感張力與交流模式。餐桌不僅是共享空間，也是觀看與被觀看的場域，藉由用餐時的視線移動、肢體語言與互動習慣，映照當代社會溝通的特質與隱性關係。

本研究借鑒尼采的存在理論，探討觀看作為個體確認自身存在的方式，並結合尼采的「日神與酒神精神」，分析視覺秩序與感性直覺如何在作品中交錯。透過繪畫構圖、筆觸與視線引導，作品試圖使觀看者進入關係的動勢之中，重新思考自身與他人的交流模式，並在視覺體驗中感知人際互動的深層意涵。

This study centers on “visual trajectory”, exploring the dynamics of gaze and visual flow to examine contemporary interpersonal communication and relational tension. The creation process begins with"latent images", focusing on the subtle and often unnoticed emotional movements within interactions. By reconstructing traces of visual engagement, the work reveals the fluidity, distance, and gaze-driven dynamics inherent in human communication.

The early stages of this project revolve around the study of visual momentum, recording and translating the ways in which individuals observe and interact. This later evolves into the “Dining Table Series”, where eating serves as a ritualistic mediumfor social engagement. The dining table is not only a space for sharing but also a stage for gazing and being gazed upon. Through the movement of sight, body language, and interactive habits during meals, this series reflects the implicit power structures and shifting nature of contemporary social interactions.This research also incorporates Nietzsche’s existential theory, examining how visual perception reinforces an individual’s sense of existence. Drawing from Nietzsche’s concepts of Apollonian and Dionysian duality, the study analyzes how structured visual order and intuitive emotional expression intertwine within the artwork. Through composition, brushwork, and gaze direction, the work seeks to immerse viewers in the dynamics of relational movement, prompting them to reconsider their own modes of communication and experience the deeper implications of human interaction through visual perception.