柔性形式：人造汙染於繪畫中的想像－李曜竹〈無名之域〉系列創作研究
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2015
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Abstract
本文主要以筆者的繪畫創作之研究與省思為起點，企圖將人造環境汙染現象轉化為筆者繪畫創作上對文明與自然的反省意義。
人造汙染欲轉化為具審美價值的藝術型態，其關鍵在於避免直接陳述汙染事件的視覺事實，而應以隱喻或象徵的手法重述它，使其與環保宣傳廣告區隔開來，而為了達到此目的有必要具備超越的能力與態度。因此，本研究透過靈性學的視角對自我靈性之喚回，以及對浪漫主義與超現實主義之相關理論、歷史文獻與繪畫作品之探討，匯整出個人對人造汙染轉化至繪畫創作的方法脈絡與創作理念。
嘗試以都市邊陲的風景結合個人想像物，重構出介於現實與非現實間的場域。強調在霧氣的模糊作用下，場域中人造物、自然物與想像物的曖昧關係，進而透過水平的觀看視角、霧化與柔焦、中明度調性、薄塗與暈染等形式與技法的應用與探討，形構個人作品具柔性特質的形式脈絡。
This paper investigates the paintings of the author, trying to transform the man-made pollution to reflect upon civilization and nature. In order to transform the man-made pollution into aesthetic forms, the author avoids using the visual facts of the pollution directly and restates it with metaphors and symbols instead, which may separate the artworks from environmental advocacy and advertisement. Transcending ability and attitudes are necessary for the goal. Therefore, the context and creative ideas of the author’s paintings are discussed via re-invoking self spirituality from the perspective of spiritual science, theories related to Romanticism and Surrealism, and review of historical literature and paintings. The painter combined suburban scenery and personal imagination and reconstructed a field between reality and unreality. By emphasizing the misty ambiguous relationship among the man-made items, the natural creatures, and the imagined objects, the painter further shaped and his personal softness quality through horizontal viewing angle, atomization and soft focus, lightness tone, gentle tone, and other forms and techniques.
This paper investigates the paintings of the author, trying to transform the man-made pollution to reflect upon civilization and nature. In order to transform the man-made pollution into aesthetic forms, the author avoids using the visual facts of the pollution directly and restates it with metaphors and symbols instead, which may separate the artworks from environmental advocacy and advertisement. Transcending ability and attitudes are necessary for the goal. Therefore, the context and creative ideas of the author’s paintings are discussed via re-invoking self spirituality from the perspective of spiritual science, theories related to Romanticism and Surrealism, and review of historical literature and paintings. The painter combined suburban scenery and personal imagination and reconstructed a field between reality and unreality. By emphasizing the misty ambiguous relationship among the man-made items, the natural creatures, and the imagined objects, the painter further shaped and his personal softness quality through horizontal viewing angle, atomization and soft focus, lightness tone, gentle tone, and other forms and techniques.
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人造汙染, 靈性超越, 浪漫主義, 超現實主義, 柔性形式, Man-made pollution, Spirituality Beyond, Romanticism, Surrealism, Soft form