摘要
本份論文以本人2008-2012 年的兩個系列作品「美麗國度．忘憂國土」及「蹬蹬 腳尖兒馬戲劇團」為主要論述討論內容，主要包含了：緒論、創作脈絡、立體與平面 作品等三個主要章節。 緒論一章中包含了「個人動機」、「創作目的」與「命題思維」三小節，主要提 及了創作源由與想法，並且特 別指出經典童話對於本系列作品的發想的重要性。 第二章創作脈絡中包含了「故事成為具有目的性的載體：口傳故事與經典童話」、 「典範的轉移：神祕的光環與宗教性」、「視線的翻轉」、「藝術內涵」以及「藝術 參照」等五小節。其中除了將經典童話及口傳故事的歷史發展原由帶出外，也將女性 在哲學、宗教與歷史中被長久期待的典型，及女性對自我的某種凝視態度，作為對作 品創作概念基底的探討。 在第三章平面與立體作品章節中，包含了「造型意象」、「結構形態」、「材質 表現」、「平面作品」與「空間展呈」等五小節。本章節主要在講述立體作品造型形 象的創做原由、作品材質與尺寸選擇的概念、平面作品的介紹，並提出展呈方式的選 擇及如何以此呈現作品意念。
並列摘要
The present paper is about my 2 series of works “The Most Beautiful Place In The World” (2009-2012) and “The Circus of Den-Den-Ciao-Jean” (2008-2012). The first chapter of this paper, includes the introduction about my motive, purpose and the idea behind these 2 sets of works, mainly focused on the influence of classic fairy tales and oral tradition stories. The second chapter is divided into five main sections. This chapter, not only brings out the origin of classical fairy tales and the symbolize of Chinese opera, but also talks about the concept of typical women in the area of philosophy, religion and history. It also points out the self-scrutiny situation of women. The base of this series of works is composed around all these discussions. Also, I’ve been looking for some artworks to use as references to compare with: it’s an attempt to present other artists who create their works starting from similar assumptions or ideas, trying to cross-reference with them, in order to discover possible creative links. Chapter III talks about the form of my works, and tries to analyze them in four articles: "shape", "composition", "materials performance" and "installation”. I have tried to explain the reasons why I use “Little Red Riding Hood” as the main subject of my sculptures, my choice of materials and size, and the idea underlying their installation.