記憶-歇斯底里

Recollecting - in Hysteria

林秋鴻(Chiu-Hung Lin)

指導教授 ： 潘信華

國立臺北藝術大學/美術學院學術論文/美術學系碩士在職專班/碩士(2015年)

https://doi.org/10.6835/TNUA.2015.00081

摘要

摘 要

分析自己的創作對多數人而言，是赤裸且困難的，作者盡可能試著分析自己的內心的想望做為開端，釐清自己的創作風格及走向，創造出自己與人相互溝通的作品。本創作論述是作者2013年到2015年在台北藝術大學研究所學習過程的心得整理。
作者一向熱愛大自然的廣袤，對人類在咆哮的大海、深幽的森林和無窮的天空面前體會到的謙卑和震撼癡迷不已，所以大自然一直是我取材的對象。原本我想以版畫為主要創作媒材，因為作版畫時需要大量勞動和細膩的心，這樣的專注讓我忘記日常生活或工作煩惱；後來因為時間、體力、設備等種種限制，轉而以纖維來展現心靈的起伏。在一針一線的縫製過程中，重複性極高、機械式身體勞動中進行著，隨著一針一線的縫合、拉扯定型中，表面的起伏好像也有了內部的力量，作品的生命感一點一滴的顯現出來，這種逐一建構的過程於作者好像有了療癒作用。
本篇論述涵概緒論及結語，共分為六個部分。第一章以記憶的片段開啓創作的動機，描述長期中斷創作後如何在記憶重組中面對自己並開創未來。第二章分析以懸吊方式呈現的作品「記憶---歇斯底里」，希望觀者感覺、體驗作者內心的蒼白。第三章說明「這不是幻影」的設計，旨在嘗試追溯自己或人們受生活中突發事件影響可能的精神狀態，將肉眼不可見的精神視覺化。第四章「偏方」是作者對長期生活在這塊土地上的採集，觀察植物對其細微處的凝視總能安撫作者的不安，作者服用的是其視覺上傳達的形與色，所以作品在色澤上採擷的是這些藥用植物鮮麗的狀態。第五章為結語，總結個人對創作與未來的期許。

關鍵字

關鍵詞：記憶 ； 歇斯底里 ； 不織布 ； 焦慮感 ； 纖維

並列摘要

Abstract

It is difficult and undisguised for most people to analyze their own creations. However, the writer endeavor to analyze personal inner desire as the outset. It aims at clarifying the style and direction of creation so as to create works which can be communicated with others. It describes the arrangement of what the writer has learned at the Graduate School of Taipei National University of the Arts from the year of 2013 to 2015.
The writer always has strong passions on the broad nature and is fascinated with the realization of humbleness and shock while confronting the roaring ocean¸ the deep remote forests and the endless sky. Therefore, the nature has been the subjects of the writer’s materials. Originally the art print was considered to be the main media of creation. It requires much efforts and delicate heart to complete the works so that daily turbulences can be ignored. However, the limitation of time, energy and facility, fibers are implemented to display the flow of the writer’s heart and soul. In the sewing process, following the repeated and mechanical physical labor of stitching and shaping, inner power was generated from the changes on the surface of the creations. The sense of life on works was illustrated step by step. This kind of construction created the effect of therapy on the writer.
There are six parts in this paper, including the Introduction and the Conclusion. Chapter One is to introduce the writer’s motivation of creation. It describes how the writer, after a long term without any creations, rearranges the pieces of memories to face herself and create the future. Chapter Two is to analyze the work, “Recollecting- in Hysteria,” displayed by hanging. It intends to make the audience to feel and to experience the inner paleness of the writer. Chapter Three is to explain the design of “Not Illusion.” It aims at tracing and visualizing the spiritual status of people affected by unexpected incidents of daily life. Chapter Four is to demonstrate the “Folk Prescription” which is the long-term collection of the writer’s life on this earth. It comforts writer’s disturbances while observing and gazing at the delicates of plants. The writer takes the shapes and colors visually conveyed by the plants, and presents the glorious status of those herbs. Chapter Five is to conclude the writer’s personal expectations on the creations and the future.

並列關鍵字

Keywords：recollecting ； Hysteria ； non-woven fabric ； sense of anxiety ； fiber

參考文獻

Fragment of an Analysis of a Case of Hysteria。台北市：心靈工坊文化

陳蕉譯(2009)。法蘭西斯．培根：感官感覺的邏輯。譯自Gilles Deleuze著。

美國傳奇女畫家歐姬芙(Georgia O'keefe)。

參考文獻

陳文茜著（2015）。我害怕成功。台北市：時報出版