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  • 學位論文

透明的情感距離—論劉致宏的創作與思維

The Transparent Emotional Distance-A Theory About Liu Chih-hung's Creation and Thought

指導教授 : 張正仁

摘要


回顧近幾年的創作,在循序的脈絡之中道出了諸多話語,並且進行了不同媒材之間由第一人稱的角度所詮釋的「距離關係」,希望藉由作品(或創作行為產生的物件)作為傳遞中介,進行一段視覺滑翔的敘事。 主要選取了【風景】、【地方】、【遠方】與【美好生活】等幾個系列作品,創作的風格與形式係由平面繪畫作品的系列開始,進而嘗試進入立體的現成物、動力等的裝置創作範疇,從創作脈絡中取樣並討論自己身為創作者所關注的核心問題所在。 創作大約分成三個階段,【風景系列】由拼湊的印象拉開序幕,在這系列繪畫作品中表達經由現代生活環境訊息大量收發之下所交融再顯的一些感受狀態,屬於接近表現主義概念的半具象風景。接著【地方、遠方系列】談到情感關係與現實經驗的空間,將關注焦點帶到討論接近現實的地方與地方性,進入了某種「偽裝」的重組塑造狀態,共鳴了具備凡常環境經驗者的感官。也強調了對於日常所知所感的疏離、無奈與詠嘆,以一種陌然的口吻訴說著生活環境與情感關係的現況。第三部份則由【美好生活的另一種樣態】與【內陸湖】等作品切入細微的日常現象以及另一種觀看的方式,將紛雜零碎如叨絮般的話語以現成物、類雕塑、模型、裝置等方式呈現,加入了批判戲謔的口吻,串連了這些「現象」黑色幽默背後的思維軌跡,呈現空間和觀看身體的轉換與改變,亦提供了其他閱讀方式的可能 。

關鍵字

距離關係 交融 空間 偽裝 凡常 觀看身體 現象

並列摘要


Looking back on my creations of recent years, I found that my works are filled with many words. I hoped to find and create a narrative by using the “distant relationship” of a first person perspective. I have selected “Landscape”, “Place”, “Distance”,, “Another modus of the happy life”, and a few other series of works. The style and form of the works started from the canvas and then moved into three-dimensional form and then further into mixed media moving installations. All of these works reflect my inner reflections to my surrounding environment.My thesis is divided into three parts and begins with the “Landscape Series,” made up of patchwork images. These paintings use modern living environments to send and receive emotional states, similar to a semi-figurative landscape. Then the “Place and Distant Series” talks about emotional relationships and experiences with reality before entering a type of “camouflage” that resonates with our perceptions of our normal experiences with environments. This stresses the daily sense of alienation, frustration, and chatter. The third part can be seen in works such as “Another modus of the happy life” and “Inland lake” that cut into and watch the subtle everyday phenomenon. Words are pieced together into ready-made objects, sculptures, models, and installations. It has a sarcastic tone, and traces the trajectory behind “phenomenon” of black humor. It provides a platform to show the space and watch the body’s change.

並列關鍵字

Distance relationship Fusion Space Camouflage Often Body Watch Phenomenon

參考文獻


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6. 羅蘭˙巴特(Roland Barthes)著,洪顯勝譯,《符號學要義》台北:南方出版社,1988。
參考書目:
1. 文 溫德斯(Wim Wenders) ,崔嶢譯,《一次:影像和故事》台北:田園城市出版社,2005。
2. 伊塔羅˙卡爾維諾(Italo Calvino),王志弘譯,《 看不見的城市 》台北:時報出版,1993。

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