細微末節的複誦－陳妍臻陶藝創作論述

我經常在熟悉的路途，不自覺探索周遭的細微變化作為生活的樂趣。生活中許多的行為及自然現象會不斷重複著，如四季變化經常將生物帶進重複的日常裡。而我總感覺日常一切不斷循環，上癮般無法停止動作，做同樣的事情、看相同的電影、不停輪播同一首歌，這樣的生活讓我開始想找尋細微變化，抵抗這泥沼。當查覺到細微變化時，先將其變化用攝影的方式紀錄下來，但影像的紀錄往往只記錄了物件的表面狀態，無法保留當下我對於它的想像內容。於是，我從生活中視覺所觀察到的各種細微末節間現象，藉由陶土可保存千年的媒材特質，保存稍縱即逝的想像記憶使它具體化。本創作論述將探討研究所就讀期間，所感悟的自然現象為研究範圍，將重複的細微末節現象轉化成陶藝創作。第一章，「緒論」，談論自身創作背景脈絡及以往所觀察到的自然現象，進而說明研究目的、研究內容、研究方法。第二章，「瞬間，重複與永恆」，因事件啟發對於細微末節的研究，進一步探循過往經驗中所聚焦的事物對自我引起的效應。不斷重複的現象及裝飾手法，對自身的深層意義也將於此章節提出。第三章，「封存，循環與遺留」，論述為何用陶土來做為封存瞬間想像記憶的媒材，藉由各種陶藝形式技法創作《循環》系列、《遺留》系列具體化現實所看到的細微景象。第四章，「細微與末節」，分別介紹與分析作品《遺骸》系列、《勻漾》系列、《紅姬緣椿象》系列、《隱形的道路》系列，這四系列呈現日常重複中細微末節間關注的想像結晶。第五章總結，透過重複的自然現象觀察，應用於陶藝創作作為封存記憶的研究之後，歸納整理做成結論與建議，以此來探討瞬間與永恆之間的可能性。

關鍵字

重複；自然現象；細微末節；保存；裝飾；陶藝

並列摘要

As I travel along familiar routes, I often find myself observing subtle changes in my surroundings. I see this as a source of enjoyment in day to day life. In life, many behaviors and natural processes are cyclical, much like how seasonal changes rein all living things into a cycle of habitual repetition. I find myself in such a cycle as well, a cycle of endless repetitions which I am powerless to break free from. Eventually, I ended up being addicted to movement and unable to break away from the fixed pattern of doing the same things, watching the same movie, and looping the same songs, time and again. This mode of life prompted me to seek the subtle variations in daily life and break out of the trappings of this repetitive cycle. When I notice such subtle variations, I would first capture them through the making of photography. However, photography only manages to capture how my objects look, and fail to record my musings on them. To give my thoughts concrete form, I embody them through pottery clay, a material that can be preserved for millennia. This way, my fleeting thoughts are made concrete and permanent. Through the writing of this creative discourse, I aim to discuss my conversion of repetitive subtle variations in day to day life into pottery art. These variations were observed during my time in my Master’s Program, and the scope was limited to occurrences in nature that spoke to me. The first chapter is the Introduction in which I will discuss the background and processes leading to this thesis as well as natural phenomena I had previously observed before describing the objective, scope, and methodology of the project. The second chapter is titled A Fleeting Moment, Repetition, and Eternity. It encompasses the inspiration I derived from subtle variations in daily life that had motivated me to delve deeper into the whys and wherefores, and also explores the effects that certain prominent objects have on me. The profound personal meaning behind repetitive patterns as well as my approaches toward beautification will also be discussed in this chapter. In the third chapter, Capture and Preserve - Cycles and Remnants, I discuss my choice of pottery clay as a medium for capturing and preserving my fleeting thoughts and musings through the use of various pottery techniques, and how they culminated in the creation of my Cycles and Remnants pottery collections. The fourth chapter, Subtleties and Variations, encompasses the discussion and analyses of three collections of works that are manifestations of my thoughts on the subtle variations in everyday life--the Remains collection and Uniform Ripples, the Leptocoris Augur collection, and the Invisible Road collection. The fifth chapter is my conclusion. Having discussed the use of repetitions in nature as subject matter for pottery art creations that aim to capture and preserve fleeting memories, I share my conclusion and suggestions for further exploring the relationship between fleeting moments and eternity.