此曾在系列-影像在彩墨上的應用與創作探索
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2016
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藝術是一種獨特感覺的記錄，表達出一種感覺、一種氛圍。透過對生活的敏感和獨特感受，去體驗現實世界的豐富多彩，透過學理和美學思想深入分析，探索表現題材的思想意涵，從議題的形塑到內容的規劃，終至創作的完成，是創作者在審視自我與相關環境條件對話之後的具體實踐。本創作研究擬定「此曾在」為探討的主題，從父親蒐集的老照片出發並以圖像作為介面，揭示影像和記憶透過時間作用產生的意義，做為水墨創作探究的觀點，冀望以構築嚴謹的創作試驗，激發自我創作能量以獲取經驗，並透過對於思想根源的審酌，完整建構創作歷程的論述與成果的展現。
本論文撰寫的內容，主要架構包括第一章緒論：闡述研究〈此曾在〉系列之研究動機、目的、研究方法與範圍。第二章:影像的敘事以及紀念功能和視覺記憶。第三章 :〈此曾在〉系列的核心，是影像的記憶重構和歷史召喚，包含影像被解讀、誤讀、挪用及擬像等等。第四章:說明東方繪畫裡西方觀念的帶入及自身創作思維的對應。第五章:解析作品風格作為繪畫表現的探討，從肖像寫生到影像的擬真，攝影式繪畫的落實操作。第六章:關於〈此曾在〉系列的創作模式，題材概念的解讀，影像感的墨痕模擬和實地應用。第七章:整體創作作品解析，是創作意念與詮釋手法的實作。第八章:為本論文的結論，針對本創作研究提出綜合性的心得結語，以及展望對未來創作發展的可能性。
Art is the crystallization of the unique feelings of the artists, who, on one hand, experience the rich and diverse reality with a sensitive mind and a unique taste and, on the other hand, seek philosophical meaning for their subject matters through theory and aesthetics. From shaping the theme to planning for its content to finishing the creation, art is a practice after the artists look into themselves and interact with their surroundings. This creative study of the things “That Has Been” starts from the antique photograph collection of the author’s father. The author aims to illustrate how time affects images and visual memories and gives them new meaning from the perspective of ink wash painting, while also seeking to inspire his own creative energy through a strictly constructed experiment. The author attempts to probe into the roots of his concepts to produce a comprehensive discourse over the creative process and the results. This study is divided in to eight chapters. Chapter 1 introduces the background, purpose and scope of the study. Chapter 2 starts the dissertation from the narrative and memorial functions of images and visual memories. Chapter 3 defines the core concept of the “That-Has-Been” series as mnemonic reconstruction of images and visual evocation of history, which involve images being interpreted, misinterpreted, appropriated and imitated. Chapter 4 describes the introduction of western concepts into eastern painting and how the author responds to them with his own view of art. Chapter 5 analyzes the series as a practice of photorealistic painting ranging from portraits to simulacra of imagery. Chapter 6 explains the subjects of the series as well as the methods adopted in its creation, especially the application of ink stain to create photographic simulations. Chapter 7 provides an overall analysis, including the idea for the series as a whole and its practice of interpretation. Chapter 8 concludes the study and discusses its potential impact on future creations.
Art is the crystallization of the unique feelings of the artists, who, on one hand, experience the rich and diverse reality with a sensitive mind and a unique taste and, on the other hand, seek philosophical meaning for their subject matters through theory and aesthetics. From shaping the theme to planning for its content to finishing the creation, art is a practice after the artists look into themselves and interact with their surroundings. This creative study of the things “That Has Been” starts from the antique photograph collection of the author’s father. The author aims to illustrate how time affects images and visual memories and gives them new meaning from the perspective of ink wash painting, while also seeking to inspire his own creative energy through a strictly constructed experiment. The author attempts to probe into the roots of his concepts to produce a comprehensive discourse over the creative process and the results. This study is divided in to eight chapters. Chapter 1 introduces the background, purpose and scope of the study. Chapter 2 starts the dissertation from the narrative and memorial functions of images and visual memories. Chapter 3 defines the core concept of the “That-Has-Been” series as mnemonic reconstruction of images and visual evocation of history, which involve images being interpreted, misinterpreted, appropriated and imitated. Chapter 4 describes the introduction of western concepts into eastern painting and how the author responds to them with his own view of art. Chapter 5 analyzes the series as a practice of photorealistic painting ranging from portraits to simulacra of imagery. Chapter 6 explains the subjects of the series as well as the methods adopted in its creation, especially the application of ink stain to create photographic simulations. Chapter 7 provides an overall analysis, including the idea for the series as a whole and its practice of interpretation. Chapter 8 concludes the study and discusses its potential impact on future creations.
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知面, 刺點, 挪用, 擬象, 老照片, studium, punctum, appropriation, simulacra, antique photographs