風景繪畫中的奇妙空間體驗 — 劉安迪創作論述

Abstract

本研究主要探討筆者從自身過往幾段經驗中所引導出的，對於空間與地方感的探問連帶影響並啟發了關於地方感以及空間經驗的一系列風景繪畫。參閱了部分文化地理學(Cultural Geography)、人類學(Anthropology)以及藝術史中對於地方感以及空間概念的討論，並從西歐風景畫歷史的脈絡切入，梳理「風景」、「風景畫」、「空間」、「地方感」等概念。「風景」意涵標示出特定時空背景下的一群人在一個地方中的故事，人們不僅塑造了地方，也被地方的作用下塑造出了自我與他者的身分意識；而「空間」體現了一段變化量的累積或是活動的存在，是一種被發明出來做為容納各種需求與活動的概念工具。

此階段的作品大致可被總結成一種「發掘並再現一個存於特定地方或事件現場中的特殊空間樣貌」的創作實踐。「奇妙空間體驗」和對於地方感知的可能性以及平面空間的處理成為作品中不斷探問和回應的命題。

本研究末尾筆者指出了一個提問：如果說「空間」會回應人們各種層次的需求，那麼在風景畫中體現出對於超驗的、特殊空間體驗的追求是否隱含著在當代社會中個體身分所面臨的某種存續上的需要或危機呢？In this thesis, I study a series of landscape paintings depicting sense of place and spatial experience, which are affected and inspired by the inquiries into space and sense of place based on my own experiences. Referring to discussions of sense of place and space in cultural geography, anthropology, and art history, I attempt to understand concepts such as ‘scenes’, ‘landscape paintings’, ‘space’, and ‘sense of place’ in the historical context of landscape painting in the Western Europe. ‘Scenes’ highlights stories of a group of people at a place within a specific context, that is, human form the place; the place shapes people’s identity of self and the others. ‘Space,’ on the other hand, is a place where various meanings act and practice. Hence, ‘space’ is regarded as a conceptual tool for containing different needs and activities.

Works in this period of time might be regarded as creative practice exploring and representing a special space which exists at a particular place or site. The proposition, inquire and respond ceaselessly by my works, are bizarre spatial experience, the possibility of sensing place, and the arrangement of space in a flat drawing.

In the end, I point out a problematic observation: If ‘space’ responds to people’s needs in different levels, the pursuit of transcendent, special spatial experience within landscape paintings implies the needs or crisis of the individual in the modern society, while considering whether they will last, doesn’t it?