摘要
這篇論述中，主要以研究所期間所做紙漿人像作品，在對安靜的內在世界創作動機與追尋方向，透過思維在文字上作整理與歸納，彙整過去幾年創作上的理念。並對自己開始接觸美術的緣由作一番回顧與理解，依序說明如下。 第一章，本篇論述的研究動機，與研究內容範圍，以及研究方法，藉由理性文字敘述來闡明作品內容。 第二章，關於感受在個人作品裡的影響範圍，在形成作品圖像的過程中，外在世界對個人所產生的種種訊息，經人感官吸收並採取的反應互動，個人的選擇與經驗內化形成另一個世界，於生命軌道累積，與外在世界相依經由個人灌溉形成的內在世界。藉蒐集描繪內在世界作品的進一步認識與比對，整理自己創作淵源，藉此了解自己作品經由內在的平衡與寧靜而來。 第三章，個人作品的表現意涵，創作透過感受與感覺來形塑具體化，超現實主義對藝術的主張與個人作品的關聯性，作品中臉孔的相似，逐漸去除人物個別身份、性別，個性。與作品型態的描述手法，作品中幾乎人物皆是全身小型塑像，在各式肢體動作裡，有它們個別潛在情節，類似故事的片段。透過容格學說裡描述潛意識中夢境和直覺在作品裡的成分。 第四章，從作品形式解析作品，從尺度上解析作品尺寸在空間裡的心理作用，在歷史中出現過的小型立體作品做了解。從材質上解析紙漿製造手法的程序，紙漿本身的粗糙質感與可塑方便的特性。從色彩上解析雕塑品上另外著色的色彩，雕塑上色彩浮現肌里的魅力，介紹不同類型的雕塑媒材中上彩的雕塑。 第五章，作品圖片和說明，個人創作在不同時間點各個階段的樣貌，使用的材質，以及創作理念說明。
並列摘要
Through organization and induction in texts, the outline in this essay aims to delve into and integrate my philosophies of creation over years in the past in terms of my motivation to pursue personal tranquil inner world and seek the direction to search for such motivation from my creative works of portrait made from paper pulp during my graduate study. This essay will further give a retrospection and comprehension over my inspiration to bring myself into first contact with fine arts. Chapter 1 features the research motivation to expound the outline, scope of research contents, and research methods, illuminating the contents of my creative works through rational texts. Chapter 2 gives an introduction of the influence of feeling on my works, the message delivered to me generated from the outside world after being absorbed by man’s sense and its reactive interaction during the process of forming the work images, the formation of another world from my choice and internalization of experience, and the my inner world through the instillation under the interdependence of life track accumulation and outside world. This essay also organizes my personal creation sources through the collection and delineation of the works of my inner world to develop an advanced understanding and comparison, and further gains an understanding that my works derive from the inner balance and tranquility. Chapter 3 gives an introduction of my works in terms of form-based characteristics and illustrates the causes, gradually removing a character’s personal status, gender and personality from the similarity of faces presented in the works. In terms of the descriptive skills for styles of my creative works, most characters in my works are full-length statues in small size. Each physical movement manifests the individual latent plot, similar to the passage of one story. Chapter 4 features the process for the shape of deformed figures, giving my personal conception and introspection presented in the works during the process of emerging the pictures of the works.