記憶圖集-胡瑞青繪畫創作研究

Abstract

「記憶圖集」之研究創作，是筆者透過桌子和椅子以擬人化的方式，在上蒼或人為所創造的風景下，我們所習慣的知覺系統，在疫情籠罩下的微解封或後疫情時期，習以為常的場景不再存在，只有記憶的圖像還存在著；其中有沉溺於憂傷的圖集、孤寂的圖集、無名的記憶圖集、末世啟示祿、和烏托邦的圖集。對於在心中熟悉的場景，開始思索圖像崩解的可能性。但試圖將腦中的畫面擬像和移情並記錄正在消逝或已消逝的事物，體現曾經真實的存在場景。本文共分四章。第一章針對本主題的研究動機與研究目的做扼要的說明；第二章是從藝術關照歷史上的疫情和東西方人生哲學觀的不同，形成筆者在疫情間觀看人文風景方式的差異。並探討潛意識、象徵和符號的運用，錯置與扭曲影像的再現，以構成新視覺的產生；第三章則從風景畫常用的建構模式─幻象、美化、錯置和模糊，以攝影影像解構、拼貼與重組再現記憶中投射的風景，並實踐形式主義與色彩學的視覺美感；第四章則說明筆者作品中創作與理論驗證。最後在結論中，總結筆者的整個創作的心路歷程與力圖由圖像的轉譯與文獻的研究來佐證自己的創作語彙，並揭示自我反省不足之處與對未來的自我期許。

The research and creation of"Memory Atlas" is an anthropomorphic way through tables and chairs, under the scenery created by God or man-made, the perception system we are used to, under the cover of the epidemic, during the micro-unblocking or post-epidemic period, the usual scenes were no longer existing, only the images of memories still exist; among them are the Atlas of Indulging in Sadness, Atlas of Solitude, Atlas of Anonymous Memory, Atlas of End Times, and Utopia Atlas. For scenes that are familiar in my mind, I began to think about the possibility of image collapse. But I try to imitate and empathize with the pictures in my mind and record things that are disappearing or have disappeared, reflecting the real scene of existence.This article is divided into four chapters. The first chapter gives a brief explanation of the research motivation and research purpose of this topic; the second chapter focuses on the historical epidemics in art and the differences in philosophy of life between the East and the West, forming the differences in the author's way of viewing humanistic landscapes between epidemics. It also explores the relationship between sub-consciousness, symbols and symbols, and the reproduction of misplaced and distorted images to create a new vision; the third chapter deconstructs from the commonly used construction modes of landscape painting-illusion, beautification, misplacement, and blurring , collage and reorganization reproduce the landscape projected in memory, and practice the visual aesthetics of formalism and chromatics; the fourth chapter explains the creation and theoretical verification of the author's works. At the end, in the conclusion, I summarize the author's entire creative process and try to prove his creative vocabulary through image translation and literature research, and reveal the shortcomings of self-reflection and self-expectation for the future.