聯想力如何應用於繪畫創作—當代藝術家郭維國個案研究

Abstract

經過文明科學的推動發展下，導致許多事物的發展，造就了一定會有的標準答案。因此在任何學習過程中，其學習最終目標僅僅侷限在是否符合已既定的標準答案，使得長期忽視聯想的思考方式，而導致在面對任何一門學科或解決問題的能力上形成了阻礙。 本研究分為兩部份進行綜合論述：(1) 透過文獻史料的蒐集後，進而探討聯想力對繪畫創作的影響，並且分析國內當代繪畫藝術的發展背景歷程，以及聯想力如何應用於當代繪畫等。將此相關文獻、檔案資料、與研究者所蒐集到的第一手資料，據此提出結論。(2) 郭維國創作作品總共蒐集到有130筆，此作品樣本依聯想物相之屬性共分為12類，經數據統計得知使用分佈後，進行意涵的分析探討。此外經由訪談的內容，依循受訪者的創作背景特性，歸納出創作過程中不同的影響要因。以此區分出各轉變階段後，再進行各時期的統計分析以觀察出差異性，並敘述受訪者對於藝術創作的構想過程。 最後本研究結論歸納出，郭維國在創作動力來源來自社會背景與生活的經驗累積，並善長以最貼近自身的「自我形象」表達議題於創作。其引起創作的動機常在偶發狀態下觸動的機率較多。因此隨著時間的變化，其創作的發展特色總共分為五個重要的轉變時期：第一期「摸索期」、第二期「渾沌期」、第三期「關鍵期」、第四期「觀摩期」、第五期「成熟期」。然而，長久以來每件作品受訪者皆以相同的自我驅體，連續而感性的扮演起以第三者角度的「觀察者」、以自我為主角的「表演者」，最終再回歸到客觀理性的技巧性技法之「創作者」等，分別以不同的身份投入其作品畫面完成創作。此外，本研究中得到下列幾點可引起聯想物相的內涵：(1) 培養對生活觀察的敏感度、(2) 反向思考，並勇於嘗試、(3) 避免將繪畫創作表現標準、(4) 預留觀者空間。另外以「聯想力如何應用於繪畫創作」做為創作參考有下列幾點：(1) 多元化的學習、(2) 培養對生活的感知察覺、(3) 創作主題的呈現與生活融合。With the advance of civilization and science, a certain model answer seems to exist in the development of everything. Therefore, in the process of learning, the ultimate goal is restricted to the conformity of this existing model answer. However, the thinking method, association, is neglected for a long time, which hinders the ability of handling any scholastic subjects or settling issues. The study is divided into two parts. (1) After collecting relevant literature, the study discusses how association affects the creation of paintings. Moreover, the study analyzes the background of domestic contemporary paintings to discover how association is applied to them. The study then states a conclusion based on literature review, relevant data, and the primary data collected by the author. (2) The study has collected 130 entries of Kuo Wei Kuo's artworks, which are divided into 12 types in accordance with the attribution of the association objects. After conducting data analysis to know their distribution, the study then discusses their connotation. In addition, the study concludes different factors affecting the process of creation based on the interview with Kuo Wei Kuo and the background of interviewee's creation. After distinguishing each transforming period, the study conducts statistic analysis of each period to discover the differences and describes the process of how the interviewee creates his artworks. The study finally concludes that Kuo Wei Kuo is inspired greatly by the social background and the accumulation of his life experience. Moreover, he is good at expressing the theme of self image in his works. His motivation of creation is always intrigued randomly. As time changes, Kuo Wei Kuo's artworks can be divided into five important transforming periods based on the their characteristics: Period 1, trial and error; Period 2, chaos; Period 3, critical period; Period 4, inspection and learn; and Period 5, maturity. For a long time, Kuo Wei Kuo adopts the same body and transforms it into different characters to play the‘observer’in the third person point of view, the‘performer’in the viewpoints of the main character, and finally, the‘creator’with mature expression skills in his artworks. In addition, the study concludes the following points which may help to arouse the connotation of association object: (1) to develop the sensitivity of observing life; (2) to reverse thinking and dare to try; (3) to avoid expressing paintings in a standardized way; (4) to leave space for viewers. Besides, in terms of applying association to paintings, the following points may serve as a reference: (1) various learning; (2) develop the perception of life; (3) integrating the theme of creation with life.