迷走的影像森林

GOT LOST IN THE FOREST

余瑾容(Ching-Jung Yu)

指導教授 ： 陳愷璜

國立臺北藝術大學/美術學院/美術學系美術創作碩士班/碩士(2008年)

摘要

藝術的創作，就像一段旅程，筆者在本篇論文中，試圖將旅程式的標題帶入文中。創作是為了尋找心中某個未知的點，在此比喻為森林中的糖果屋，文中的標題則參考格林童話“糖果屋”的故事架構為主軸；第一章述說在觀察日常生活後，思考該如何以精簡準確的藝術語言來傳達想法與感受，而糖果屋也就是旅程的目標。一開始自小徑進入森林，觀看沿途風景，藉此述說關心的議題與創作的動機。而在廣闊的森林中，總是需要羅盤與地圖作為旅行的參考，於是文中的第二章，以羅盤與地圖比喻為與筆者創作較相關之錄像歷史的狀況與發展。經歷森林中的探索後，也許且作休息，或發生了事件與對談，因此會發現許多曾經或是正在關心的事，沈澱思考一番，第三章所用的篇名為“跨十日”，即是引用了薄伽丘所著的寫實主義短篇小說“十日談”的書名；而“跨十日”，是指在研究所的就讀期間，所體驗到、感受到的幾個影響創作的事件；在此回觀故事性的�事件的產生對個人創作發展上的意義，同時這些體悟也是創作時重要的元素。第四章麵包屑的部分，談論重心則在於筆者作品的創作過程與內容，就像“糖果屋”故事中主人翁所使用的麵包屑一樣，在創作的森林中作記號，標明所來的途徑。此章節中的名稱則是使用像是記號般的日期數字。

最後在這篇文章裡，筆者重新去整理一段段的故事與情緒，內含一些深沉的回憶。記憶與實際經歷之間的落差與斷裂，也對應了作品中片段被放大的重複、單調性，以及不可言說之部分，而這也是它迷人之處。

關鍵字

森林

並列摘要

The process of art creation is like a journey. In this essay, the author employs the journey motif in the titles of the chapters. The process of creation is a search for the unknown. It is like the cottage in the forest in Andersen’s “Hansel and Gretel,” on which the titles are based. Chapter One describe how, after observations of everyday life, one can employ more precise language of art to convey one’s thoughts. The cottage is the destination of the journey. At the beginning of the journey, one walks along the paths in the forest, watching the surroundings. It is about the issues and motivations for art creation. In the depths of the forest, one needs a compass and map as the guide. Therefore in Chapter Two, the compass and map is a metaphor of the mapping of the historical development of video imaging related to the author’s creative work. After the exploration, one may want to take a rest in a cottage. Here one may find many things that have been, or remain his or her concerns, and one may start contemplating on them. Chapter Three’s title, “Spanning Ten Day,” is an allusion to Boccaccio’s The Decameron. It recounts the experiences that have influenced the author’s art during graduate studies. This is a retrospection of the narratives and events in the development of the author’s art, and they are also important elements in art creation. Chapter Four, “The Bread Crumbs,” discusses the creation process and contents of the author’s art works. It is like the crumbs in “Hansel and Gretel” that are used to indicate the path, but the indication is so fragile. The subheadings in this chapter employ sign-like numeral dates.
At the end of the essay, the author recapitulates the stories and emotions, as well as profound memories that the author has tried to avoid. There is a gap and rupture between memory and reality. This attests to the repeatability, monotonicity, and the unspeakability of the blown-up portions of an art work. And this is the beauty of art.

並列關鍵字

forest

參考文獻

楊凱麟著，《德勒茲「思想－影像」或「思想＝影像」之條件及問題性》，臺北：臺大文史哲學報342。2003

André Breton 1924, Manifesto of Surrealism, reprinted in Breton，1972

Lefebvre, Henri : The Production of Space, 1974,translated by Donald Nicholson Smith, Oxford: Blackwell.

人及其象徵：榮格思想精華的總結，卡爾．榮格（Carl G. Jung），龔卓君譯，立緒出版日期：1999

海德格存有與時間闡釋，陳榮華國立台灣大學出版中心，2003[民92]