論儀式性創作與時間形式--「情書•給誰？」

本文探討創作者如何以實存的物質創作，表達虛的時問性。這樣的時問性以限定時問裡，儀式性的創作行動，作精神層面的透顯；表現於作品形式，則是經由如同印記般，編碼作品單元件的堆疊累積以傳達。儀式由收集、封存、轉化的反覆行動所組成，這些動作常見於古今中外女性的戀物收集及女紅編織，經由創作者思考認知，而選擇作為一種創作方式；這些行動透過有意識的反覆持續，因而有別於勞動，成為類宗教苦行的儀式，被賦予異於世俗的神聖意義。創作動機亦源自於女性生命經驗的所知所感，整個行動是自覺、療癒再生的過程。以下作品的「形」是確立的。在文化意涵的理解上，有多重意義依附於矩形：碑記、棺槨、畫框、盒子、牢籠、書寫文件·一這些象徵意義讓創作者使用矩形作為創作的「形」。矩形裡是創作者給出，並賦予意義的，如同選取的視窗標本，只留下那一時一刻的一部份。通常選擇透明或半透明，脆弱易崩毀的材質，以輕盈、半穿透的視覺手法呈現，以對應重的情感，和累積的大量體。創作論述不能只從抽象觀念的探討及物質形式進路，必須深究的乃是創作的靈魂。生而為人，長於人際關連的社會，最重要而必共具的就是愛情。多數女性因為愛情的經驗或挫敗產生紀念性的戀物。在此，創作者愛情的對象分別是母親、男朋友（特別是過往相戀十五年的前男友）和自己，遂以身為女性的思維經驗，使用收集的紀念物，創造儀式，為了渴望中的救贖超拔，我為自己重寫愛情。我的作品不以向外觀想現象作為創作的主軸，而是向內對自我生命的提問追索。

關鍵字

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並列摘要

This study explores how an artistic creator illustrates the abstract concept of time through physical artistic works. The concept of time is revealed in a spiritual way by conducting ritualized creation activities within a fixed time frame. As revealed in the works, it is conveyed through imprint-like, coded and accumulated work units. The ritual was conducted through repetitive activities of collecting, packaging, storing, and converting. These activities have been commonly seen in the love memorials collection and needle works by females home and abroad throughout the history of human kind. The artistic creator consciously chose this ritual as a form of creation with thoughts and cognition. Unlike laboring, these activities were consciously repeated and thus became a semi-religious, ascetic ritual. Bestowed with non-mundane and sacred meanings, the motive of creation was also originated from the knowledge and feelings of a female’s life experience. The whole activity was a process of self-awakening, self-recovery, and resurrection. The "form/shape" of the following works is substantial. In terms of cultural comprehension, multiple meanings were attached to rectangles, such as steles, coffins, frames, boxes, cells, and written document. The symbolic meanings inspired the artistic creator to use rectangles as the "form/shape" of her works．Inside the rectangles were provided and bestowed with meanings by the creator, like specimen carefully chosen to be displayed in the windows, only the displayed part in the specific moment of time would be remembered. Usually transparent or semi-transparent, fragile and easily disintegrating materials were used to present a light, airy and semi-see-through visual effect, thus creating a contrast to the heavy emotions and accumulative mass． The creative works must not be viewed merely through investigation of abstract concept and materialistic forms, but the audience also needs to explore the soul of the creation. Since human beings are born and raised in a society interwoven by interpersonal relationships, love is the most important and common emotion. Many females have produced love memorials according to their love experience or failure. In this creation, the objects of the creator’s love are her Mother, boyfriends (especially the one she had dated for 15 years) and herself. By using her feminine thinking, experiences, and love memorials collected from the past in this creation, the creator aspired to redemption and created a ritual in a hope to transcend the feelings. I rewrite Love in the form of creation, for myself. Since the inward questioning and pursuit for self and life is the core of this artistic creation instead of the outward exploration phenomenon, it is obviously unnecessary and inappropriate to maintain a pseudo-objective, professional, and secondary role to comment and elaborate my own works. This dissertation is a narration of creation by the creator herself. In the following chapters, the first person, "I" (not just a "professional artistic creator"), and a feminine writing style will be applied for narration.