觸－翁明崖創作自述

中文摘要本文為我在研究所期間繪畫創作上脈絡發展的研究，藉由自我省思與檢視、研究與探索所作的繪畫創作之研究論述。以下茲就論述中之各章節做一概要說明：第一章在探討自我繪畫養成對我今日繪畫創作之影響。在論述中從自已對繪畫的質疑、自我提問談起，進而在自我檢視及重新演練繪畫機制下，所生成之繪畫表現形式與今日繪畫創作之內容及表現形式上的關聯性。第二章在談論自我肖像的意義。論述從自我肖像的語意更迭變化談起。自我肖像是做為我繪畫創作上繪畫性探討之撐載體，在這自我面對與凝視的繪畫創作過程中，藉由繪畫性的表現與探討，進行著自我觀照以及內在精神的投射。第三章在對繪畫性之筆觸姿態做探討。從筆觸在西方繪畫的發展脈絡談起，並以二十世紀美國畫家查．克羅斯（Chuck Close）作品中繪畫性的表現，和我繪畫創作上的關聯性做一比較。接著談論自已對繪畫過程性的關注與探討，以及筆觸線條之變化係為自我繪畫當下心理狀態的投射。第四章談論繪畫的表現形式。繪畫的過程性是為我繪畫創作所關注的，因而尋求不同的表現形式以彰顯出繪畫之過程性是為本章的重點。

關鍵字

自我肖像；筆觸

並列摘要

Abstract By means of constant introspect and self-examine, study and exploration, I accomplished the research about the development of my painting creations when I was at graduate school. The following is the abstract of each chapter. First of all, I would like to discuss how the past painting experiences keep influencing my present creations on the Chapter One. I always question over my own work and challenge myself. Under the way of self-examining and reconstructing the process of panting, it comes to a form of expression that belongs to me, and I will compare it to the contents and form I have nowadays. On the Chapter Two, I deal with the meaning of Self-portrait. It is a discourse that begins with various languages of panting. Self-Portrait, the pivotal in my creations, explains my painterliness. In the course of facing and gazing at myself, I embark on self-conversation and spiritual reflection. The brushstroke and gesture of painting comes to the central idea on the Chapter Three. I start from brushstrokes in the western painting development. With the example of Chuck Close, a 20-century American painter, I try to compare the painterliness in his work to mine. I also talk about how I take heart to the process of painting. The changes of brushstrokes and lines, actually, reflect my mental status at that moment. Finally, I handle the forms of expression on the Chapter Four. Speaking of my creations, I care more about the process of painting, and try to express it with different kind of forms.