一種可視的行動軌跡----線性藝術

Abstract

所描繪對象物的選擇，根植於內驅原則。從音樂系背景跨界美術系的心路進程，至對書法和文學的喜好，以線性形式創作為其重要途徑之一。 從五線譜的線條出發，至書法線條，再至油畫創作之線條，逐步解釋客觀元素和主觀表達，援引柏格森及巴赫汀對線條、色彩綿延和主體建構之哲學論述，康丁斯基和荀白克的音樂理論引入繪畫領域，強調視覺構成的純粹性和音樂性，也是引導創作的內在驅力。從這個角度來看，藝術創作大可不必有任何外在限制，只要創作者的內在衝動和需求，可以選擇任何合宜的形式來表達，一如「俳句」。 透過內在驅力不斷外化成外在形式，顯然就能成其風格，但是風格並非全部或者都經得起考驗，真心探求的是藝術的內在精神。從線與音樂的主從關係之互換，做為此文本藝術形式呈現的方法，寫實部份以線的形式為主體，有關音樂的部份，則傾向以「綿延」精神為其詮釋方式，物質感性和精神意念的相互轉換過程，是文本和創作產生的關鍵。

The choices of my works targets are up to the principle of the inner drive. The linear form has played a very important role in my creations, which include the internal struggle of my music background into college of art and my great passions to calligraphy and literature. Starting from the staff, calligraphy and finally to the oil painting, the lines explained the objective elements and my subjective expression. Quoted from Henri Bergson’s and Makhail M. Bakhtin’s philosophy expounding about the lines, colors extension and subject construction, Wassily Kandinsky and the music theory of Arnold Schönberg into the field of painting. My works emphasized on the purity and music presented by the vision, and they are also the inner drive leading to my creation. From this point of view, there should be not any outer limitation to art creation. What the creator needs is just the inner impulse and demand, We could express our concepts in any appropriate way, such as the traditional Japanese poem---“Haiku”. The personal style can be accomplished through the outer form built by the inner drive. However, not all the styles could survive, what we really seek for is the inner spirit of art. The exchange of the primary and secondary for lines and music represented the art form in this thesis. The lines are the major realistic part, and the music is extended in a spiritual way. The exchange process of the sensibility of substances and the spiritual ideas are the keys of this thesis and the creations.