故事中的可見與不可見 —邱建仁繪畫中的影像

Visible and Invisible in the Story. —about Chiu Chien-Jen Paintings.

邱建仁(Chien-Jen Chiu)

指導教授 ： 曲德益

國立臺北藝術大學/美術學院/美術創作碩士班/碩士(2009年)

摘要

摘要

本人的創作以影像思考出發，利用相機捕捉生活場景作為繪畫題材，在生命旅行中，記錄著日常生活的點點滴滴，「Narrative」系列作品到「生活照樣繼續」系列作品，二○○四年到二○○八年橫跨四年之間的繪畫創作。創作者利用大量低彩度油彩，造就許多的流動痕跡，反覆的堆疊和去除動作將許多的片刻壓縮在同畫面上，猶如逆光一般的輪廓剪影，呈現出疏離感和不安定性，創作圍繞著探討影像對於年輕世代族群生活的影響，也企圖在影像與繪畫之間找尋另外視覺的平衡。

本論文首先藉由縝密的研究動機與目的，研究範疇與方法的分析介紹，開宗明義論述本篇論文的首要宗旨。第二章以「影像」為主軸，探討影像社會的魅力影響，對於文化、歷史、心理層面的種種狀態，並藉由影像生活史的概括性論述爬梳攝影史脈絡，進一步探查攝影與繪畫間的辨證關係。接著透過筆者二○○四至二○○八年間的繪畫創作，觀察週遭生活的微妙變遷以及對於記憶和時間的探索，發展出一系列以「生活」為主題的繪畫創品。

論文第三章探討「攝影影像」與筆者「生活照樣繼續」系列作品之間的關係與對應，以「可見與不可見的故事敘述」分析作品中視覺可見的繪畫表現性技法以及筆者內心對於影像的投射於繪畫中的意涵，最後再討論作品中的故事性與當代藝術的關係。在論文的最後一章舉出三位藝術家Gerhard Richter、Michel Majerus 以及Corinne Wasmuht與筆者時代背景、形式技法、內容作探討比較對應，希冀以此說明筆者作品中的故事性與當代藝術之間的關連。

關鍵字

繪畫 , 弱 ,數位 ,影像

並列摘要

Abstract

My artwork derives from photographic images. I document dribs and drabs of the quotidian by taking pictures of everyday settings and using them as painting materials. When I painted the Narrative and Life Goes On as Usual series between 2004 and 2008, I created a great many fluid traces on these paintings by applying large amounts of low chroma oil paint, then juxtaposed different moments of life on the same picture plane by simultaneously using daubs of paint and scraping techniques. This in turn produced a backlight silhouette effect, imparting a sense of alienation and instability. These works primarily focus on exploring how images influence the life of the younger generation, and seek to achieve a visual balance between photography and painting.
Chapter One begins with a detailed introduction of my research motivation and aim, field of research, and methodology. Chapter Two focuses on the discussion of images. In addition to investigating the charm of an image-saturated society and its influence on cultural, historical, and psychological conditions, I also briefly review how the development of photography has changed people’s everyday lives, and further analyze the dialectical relationship between photography and painting. Chapter Three describes how, by observing the elusive transitions of everyday lives and exploring memories and time, I did a series of paintings between 2007 and 2008 on the theme of “life.”
Chapter Four examines how “photographic images” are present and function in my Life Goes On as Usual Series, and analyzes various expressive painting techniques employed in my work, as well as how my impression of images is reflected in the paintings. This chapter also includes a discussion of the storyline contained in my work, and its connection to contemporary art. Finally, Chapter Five compares and contrasts my work and the work of three painters – Gerhard Richter, Michel Majerus and Corinne Wasmuht – in terms of temporal background, form, style and content.

並列關鍵字

painting

參考文獻

（Benjamin, Walter. “The Work of Art in the Age of Mechanical Reproduction”,

Illuminations Glasgow. Fontana: Collins. 1970.）

On Photography. Hamondsworth: Penguin, 1997.）

1982.

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