心內風景-時空迭變下的內在水墨心境

大自然作為創作主體，融入平時生活的種種視覺刺激，再以水墨媒材的特質建構出畫面的意象，從中了解內心對外界環境詮釋的多樣風貌。第一章，透過長期對大自然的觀察，嘗試將自然景色區分為原生自然景色與人造景物。了解原生自然景色依生態法則產生多樣特色卻無重複的造型與線條。城鄉間原生自然景色與人造景物的分布比例落差也能看作是一個節奏下的自然現象，兩者的衝突與矛盾經由繪畫手法結合出多種不同意義的內涵成為創作動機之一。第二章，騎車環島造成的視覺經驗是不停位移的空間變化，伴隨速度瞬間即逝的視覺感受影響創作中解讀對象物的操作慣性。而這種帶有速度的視覺經驗有如電影中的連續影像，將時空壓縮後濃縮成一個主題或意象成為創作手法之一。從觀察城市角落與攝影間的配合尋找自己的美感偏好，並了解外界光線營造出的氛圍有助於如何處理畫面中造型的不諧調。第三章，將創作理念分為二大部分；我不斷追尋逝去的視覺影像再重組到畫面上，將當下與過去透過繪畫手法反覆的結合；如此的創作過程讓我對畫面中的時間與空間有了新的想法，多重視象組合出畫面中的多重空間，時間流逝感即由中產生；多元化的空間錯置皆詮釋同一主題，以畫面動勢帶著視點在不同空間裡有節奏的轉換，當視覺張力上取得平衡的同時，在永恆的遷動中找到絕對靜止與和諧的時空觀感。第四章與第五章，針對材質與技法的應用呼應前三章的層層理念與想法。展現水墨媒材的特性與各個創作動機的實現，了解因視覺經驗的累積以致不斷改變對外界景色的詮釋，時時刻刻都能遇見｢新的風景｣。

關鍵字

多重視象；多重空間；恆靜意象

並列摘要

Nature is taken as the main body of the creation, combined with the visual excitements in daily life. The image is constructed by the features of ink. The various landscapes of the external environment are explained by mind. Chapter One: through the long-term observation on nature, I try to divide natural landscapes into natural scenes and artificial landscapes, understanding natural scenes generate multiple features according to ecological principles and the modeling and lines of the features are unreproducible. The ratio difference of the distribution of natural scenes and artificial landscapes between the urban and the rural can be taken as a natural and rhythmic phenomenon. The conflicts and paradoxes between both sides are combined into various meaning contents by painting strategies. It turns into one of the motives for the creation. Chapter Two: the visual experience resulted from bicycle island tour is a constantly moving and changing of space. The transient vision at high speed has impacts on the explanation of the objects’ operational inertia in the creation. Such speedy visual experience looks like the sequent images in a movie, compressing time and space into single theme or image. It becomes one of the creation strategies. I try to find my artistic preference by observing the urban corners and by photography, and to understand how to deal with the incoordination in the image by the atmosphere constructed by the external light. Chapter Three: the creation concepts are divided into two parts. I keep pursuing the lost visual images and remapping them into the image. I combine the present with the past repeatedly through painting strategies. Such creation process brings me new ideas about the time and space in the image. The multiple visual combinations construct the multiple spaces in the image, and the passing time is generated this way. The multiple displacements of spaces explain the same theme. The dynamic image leads vision to the rhythmic transformation in different spaces. When the visual balance is reached, the absolutely silent and peaceful perspective of time and space will be found in the eternal movement. Chapter Four and five: the application of materials and techniques echoes the concepts and ideas in the previous three chapters. The features of ink are displayed and various creation motives are realized. I try to realize the accumulation of visual experiences leads to the changing explanation of external landscapes. The “new landscapes” are met all the time.