無人風景─論廖震平的繪畫創作

本論文旨在闡述個人的創作理念。第一章解釋創作動機和對象，並說明創作概念之流程。第二章將創作對象─城市邊緣片段而空洞的都市地景─進行分析，試圖了解其空間特點並探究人們對於此種類型空間之心理反應。第三章談論當今繪畫與影像之間的關係以及選擇繪畫作為表現媒介之理由，並透過梅洛龐蒂的時間結構圖理論來看待我所關注的城市空間場域－我的創作－觀者的知覺三者的關係。第四章從形式的角度將個人作品進行分類與說明，第五章為創作概念總結。我們眼前的都市風景絕非單純或偶然，它們在某種程度上具體地表現了世界如何運作與改變等人們的信仰與觀念脈絡。它們不僅包圍、遮掩著我們，同時也向我們透露了許多裡層和內在的訊息。譬如那些少人去的、廢棄的、閒置的、不被有效使用的都市角落往往是人與空間關係最具有啟發性和可觸發想像的，如此被忽略的都市邊緣，如同不重要的訊號被存入人們腦中次要的知覺邊緣。藉由揉合攝影和繪畫，我以三個系列的創作作品：空曠的「場風景」系列、片斷的「無限風景」系列和「剪影風景」系列，去檢視和再現那樣的城市孤島空間，嘗試組合出一些新的事物，並且對這個陌生的環境進行長時間對話，挖掘出一種屬於個人在「觀看─記憶─影像」三者之間的關係本質。以梅洛龐蒂的時間結構圖理論而言，觀者得以透過作品投射出既有的城市景色記憶，並且當觀者再度面對那些城市失落空間的當下，也許在知覺的邊緣區會又投射出對於作品的記憶，如此疊合在觀看作品時的視覺經驗與自身過往的視覺經驗之厚度中。

關鍵字

無人風景；都市邊緣；知覺；繪畫

並列摘要

This study aims to elaborate on the creative ideas of the researcher. Chapter 1 illustrates the artistic motives, subjects, and conceptual procedures. Chapter 2 analyzes the subject—the empty urban landscapes in the margins of the city, explores their spatial features and human psychological reactions to such space. Chapter 3 discusses the relationship between contemporary painting and images and expounds the reasons for choosing painting as a medium of representation. It also applies Merleau-Ponty’s time chart to investigate the relationships between the urban space that the researcher focuses on, the researcher’s own work, and the perception of the viewer. Chapter 4 categorizes the researcher’s own works based on formality and explains the rationality behind this categorization. Chapter 5 is the conclusion of the researcher’s artistic concepts. Urban landscapes are not independently existed or accidental; on a certain level, they concretely express how the world operates to change the beliefs and conceptual frameworks of individuals. They not only surround us, envelope us, but also reveals the inner meanings. For example, the untraveled, the deserted, the dormant, and the unused urban corners are often the most inspiring and imagination-triggering. These overlooked urban margins are stored in the secondary perceptual edges as unimportant messages. By mixing the photography and painting, the researcher examines and represents the isolated urban space in three works: spacious “scenery of arena,” fragmentary “boundless scenery,” and “scenery of silhouette”; and also try to arrange new things in order and initiate long dialogue with this strange environment and unearth the essence of “viewer—memory—image.” Based on Merleau-Ponty’s time chart, viewers could invoke memories of urban landscape. When viewers confront the lost urban space once again, their memories of works will conjure up in the perceptual edge, overlapping with viewers’ visual art experiences and their past visual experiences.