稚·拙美學的啟發—陳曉蝶創作論述與實踐

Abstract

本研究以探討稚拙美學對當代藝術的影響，強調其作為一種突破傳統藝術框架的態度，透過分析他人的創作論述與實踐，揭示稚拙美學的潛在價值，以此作為創作的理論基礎。稚拙美學強調技巧的不完美和情感的純真，筆者以「壞畫」極端的概念為切入點，探討其與當代藝術的互動關係，及對未來創作的應用價值。這一研究將對自身的創作思維和方式產生深遠影響。筆者並不主張完全拋棄所學技巧，而是適時的融合東方媒材與文化底蘊，將傳統元素與現代藝術技法結合，展現在稚拙美學領域中所建立的獨特身份和能力。第一章，闡述本創作研究之動機與目的，說明運用的研究方法，同時界定研究範圍和內容；第二章，以現代都市生活及消費文化的現象，解析媚俗藝術下的都市藝術、潮流藝術和形似塗鴉藝術的「壞畫」，探討運用拙趣表現的價值所在，以此作為論述的主要架構，說明壞趣味在藝術中的表現，並提出相關藝術家的創作進行分析。第三章，回應到自身的創作，闡明創作理念和風格，並記錄創作過程及內容。以筆者所關注的戶外活動、時事趣聞和生活細節等日常作為創作題材，並展示如何將東方文化底蘊融入創作中，呈現出獨特的拙趣風格和塗鴉感；第四章，說明系列作特色和深入解析個別作品，從而歸納出個人的脈絡和特色。第五章為結論，強調了稚拙美學的啟發，以及它在當代藝術流行中的角色。稚與拙的啟發源自於筆者自身的偏好和創作態度，希冀透過創作反映自己在當代藝術中、學院體制下觀察到的現象，適時的叛逆，展現這些壞趣味的價值，挑戰自己和觀者對藝術的寬廣度，以期許未來持續地發展創作。This study explores the influence of naive aesthetics on contemporary art, emphasizing it as an attitude that breaks through traditional artistic frameworks. By analyzing the creative discourse and practices of others, it reveals the latent value of naive aesthetics, which the author uses as a theoretical foundation for own artistic work. Naive aesthetics highlights the imperfection of technique and the purity of emotion. The author uses the concept of"bad painting" as a starting point to investigate its interaction with contemporary art and its potential application in future creations. This research profoundly influences the author's creative approach. It suggests integrating Eastern media and culture with modern techniques to showcase a unique identity. Chapter 1 elucidates the motivation and purpose of this creative research, explains the research methodology, and defines the scope and content of the study. Chapter 2 delves into the phenomena of modern urban life and consumer culture, dissecting"bad painting" as a subset of popular art, including urban art, trend art, and graffiti-like art. It explores the value of using naivety as a means of expression, forming the primary framework for discussion and presenting analyses of relevant artists' works. Chapter 3 responds to the author's own creative process, elucidating the creative philosophy and style while documenting the creative journey and its content. It employs everyday elements such as outdoor activities, current events, and life details as creative subjects and demonstrates how Eastern cultural heritage is infused into the creative process, presenting a unique sense of naivety and a graffiti-like quality. Chapter 4 elaborates on the characteristics of the series of works and provides in-depth analyses of individual pieces, summarizing the author's context and distinctive features. Chapter 5 serves as the conclusion, emphasizing the inspiration derived from naive aesthetics and its role in the popularity of contemporary art. This inspiration stems from the author's personal preferences and creative attitude, aiming to reflect observations of phenomena within contemporary art, even within the confines of the academic system. It advocates timely defiance, showcasing the value of these "bad tastes," challenging both the author and viewersto broaden their perspectives on art. It holds the hope for ongoing development in future creative endeavors.