摘要
面對傳統水墨藝術形式的規範，我視為一個『框架』，而我也保持一份距離，這份距離出於自身希望能隨時自我警覺，不讓自己流於創作思維上的僵化，這樣也較能使自己在創作上更加擴展，讓自己可以不受限於此既定形式之下。另一方面也是我自己希望能夠以更超脫的方式來面對此脈絡，而不是完全依循著。 異質的書寫，來自生活和創作上彼此的衝突。為了消去衝突也曾有過迷失與焦慮，這使我不斷在邊緣游走。就像個流動的水滴，沒有完全依循著脈絡，但也沒有脫離它。我企圖回歸自身去尋找定位，是不願依附於習性和面對約定成俗的反抗，不論生活的速度與思維或創作者的姿態，都與自己或他人的期盼保持著距離。這份異質書寫，就是出於此種心態而進行著。 在尋找的過程中，我漸漸明白自己在創作上的定位。水墨創作處於當代已逐漸產生新的脈絡。這可說是一種延續，也可說是一種斷裂。我只確定我雖然依循傳統水墨的創作機制作為出發點，但作品的最終形式卻和傳統形式或多或少形成距離。這也是我在研究所期間從事水墨創作時所延續的方向，會有此現象與我之前的文化養成，與面對生活中社會產生各種奇特的生活現象，和當代藝術跨領域所產生的衝突脫不了關係。 我是一位曾經接觸傳統水墨藝術形式的創作者，面對當代多元價值，呈現了過渡期中的焦慮。在學院體制的過程中，因為我始終在封閉性和開放性之間徘徊，因為在創作上的習慣和企圖解決個人的焦慮。所以不斷的思考以往的水墨創作有那些是我可以堅持的，又有那些必須放下。以下的論文，雖然尚未成熟，但卻是我研究期間的簡短整理。 第一章說明我面對當代水墨發展的觀察，由同質化，延續和斷裂作為當代水墨發展的幾個面向，當西方的經典作品逐漸為各個場域的創作著接受時，水墨創作著也不斷參照西方的經典作品，就可能造成傳統水墨藝術形式如同所有的當代藝術一般，失去自身的脈絡。面對這文化衝擊，自然會形成以下二種面向，其一為『封閉性的文化論述』，如堅持典型筆墨形式。其二為『開放性的創作模式』。不依附於歷史敘述，而是重新建構水墨創作。 第二章:檢驗自身在以往水墨創作時，所受的影響。提出自己在水墨創作上依然注重的部分。由時間概念的轉化和媒材以及傳統水墨藝術形式做為個人的出發點，而媒材本身使我更注重書寫性和作為我在當代藝術中的一項特色，傳統形式已有自身獨特的時空觀念，可做為藝術上的展現方式。 第三章:用水墨媒材與形成的創作觀念，由物我交融和書寫時的意識分析與慣性經驗來說明我創作上目前所關注的部分。物我交融是指面對自然時的感知過程，書寫的意識狀態，則是分析當下書寫的意識，無意識和書寫之間的關係。慣性則說明以往書寫的經驗，和繪畫時所造成的影響。 第四章:結論說明我在水墨創作上的組織形式。動靜，虛實，線質，大尺幅製作與屏風作為分析方式，動靜，虛實符合傳統水墨藝術的概念。線條則是我在創作上基本的元素。大尺幅與屏風則是我面對展場空間所提出的展演方式。
並列摘要
Heterogeneous writing comes from the conflict between my life and creative works. In order to get rid of the lost and anxiety caused from conflicts, the writer continue to walk on the edge. Like moving water drop, I don't have context to follow, but I don't leave it at all. I try to find my own place back there. Possibly, my resist against recognized precedent keeps myself distance from others' expectation, the speed of life and attitude to life ,or the mental state toward creative work. Possibly, It is caused from the short of independence; possibly I always don't want to be under the regulation. This heterogeneous writing Is proceeding under this kind of attitude. People's life has been separated from traditional agriculture, but we still use the Intermediary of agricultural life. So it must have conflict. I believe the biggest conflict probably can produce biggest power. During this process, it takes time to crash before find of the exit. Probably, It will cause lost and anxiety for a while. During this process of countless failure, however, I am getting to know my situation and find my exit naturally. I also getting to know my place on creation.Ink-painting has been producing new form nowadays. It is a kind of continuity, but also a kind of breaking. No matter how I call them, I am only certainly sure I am on the edge of wash painting. Although on creation ,I start with the traditional ink-painting form, the creative work finally still has distance from the traditional form. It is the direction I study ink-painting with. It must related with my life, the various special phenomenon in now society, and the conflict produced from the present age art which stride out to other territory. I face this conflict, but I believe the biggest power can be produced from conflict probably. How to face it, and how to cope with is the first work, as a ink-painting creator, I need to deal with. It Is also a long-term question I consider. I keep myself a distance from traditional ink-painting. The distance comes from that I hope to keep myself awake not to become rigid on creation. It can also help my creation be more expansive, not to be limited by its already decided form. On the other hand, I hope my self be more prejudice on it, and not to complete follow It. By this way, I can regard ink-painting as nutrition that I can examine at anytime and take Its strong point. A creator who got in touch with traditional ink-painting, faced the various value In present age, felt anxious In transition period and wandered between conservative and progressive. Because my habit on creation and attempt to solve personal anxiety, I continue to think which part I can Insist and which part I must give up. The following essay although not mature yet is the brief arrangement during my study: The first chapter illustrates my observation to ink-painting at present age. Homogenization, continuation, breaking, are as the several sides of ink-painting. When western classics become popular culture, ink-painting takes western classic works as the reference continuelly that possibly make itself like all other avant-grade art lost Its own unique. Facing this culture Impact, naturally will form two extremes: conservativeness, Insisting on typical way of ink-painting, and progressive, not relying on history and reset the ink-painting creation. The second chapter starts to examine the influence on my past creative work and presents the part of creation which I still look highly upon. I start from time, Intermediary, and traditional ink-painting. Intermediary and the viewpoint on time of me accords. Intermediary It self make me look more highly upon writing and become my speciality In the art of present age. Traditional form has been produced a unique space-time Idea which can present. The third chapter illustrates the creative idea under using ink- painting intermediary. I illustrate the part that I care now by the mixing of nature and me, the analysis of consciousness as writing, and inertia experiences. The mixing of nature and me means the interacting between me and nature.。The analysis of writing means to analyse consciousness, unconsciousness as writing, and the relationship between writing and consciousnessInertia illustrates the past experience about writing and the influence upon painting. The four chapter illustrates my organization on creative work of wash painting.Move-quiet, abstractness-concreteness, line quality, big-size made and screen, those are the way of analysis. Move-quiet, abstractness-concreteness accord with the traditional wash painting viewpoint. Line quality Is the basic essence of my creation. The big size of painting and screen are my way of presentation in show room.