複數空間—平面繪畫介入展場空間之創作研究

Abstract

六O年代以後的西方，藝術家們開始將繪畫創作作為一種過程、一種反詰自身的介面，並且伴隨著圖像消解的過程，連結物體、空間擴張自身的領域。筆者在這次的創作研究中，試圖發掘繪畫創作的其他可能性：在選擇媒材上，無論顏料、載體、平面、表面、邊緣等，圍繞著探討繪畫的本質與邊界，進而探究繪畫與真實空間之間的主宰角力關係，將繪畫如何進入展場視為創作的主要內涵。 筆者透過枕石畫坊這個展出空間，以就地製作(in situ)的方式試圖反轉繪畫作品完成後，方進入展出空間，佔領一個空間位置的先後序位，而將繪畫當作一個空間的切面，也就是以環境場域作為創作的原點，使繪畫內容直接來自於陳列的展場空間。

The Western artists started to treat the creation of painting as a process, an interface of self rhetoric after the 60th. Along the diminishing of the images, the connecting of the objects, the self-owned space& territory were expanded. Through this research, the writer tried to exploit the other potentials from painting creations; through the choice of the media materials, no matter it's pigment, carrier, plain, surface, edges and etc., surrounding the exploiting of the nature & boundary of the painting, further into exploit the strong relationship between painting and the intrinsic space, eventually penetrate the painting as the major content of the exhibition space. Through Zheng Shih exhibition hall, the writer tried to use the surrounding of the space as the origin of the creation, revert the painting articles into this space of exhibition. Through the prioritizing the exhibition space area and treating the paintings as a cross-section of a space, henceforth the painting itself coming directly from the last of the space of the exhibition. Therefore it becomes the very origin of the space.