詩性的抽象雕塑 社會情感的轉移

第一章在個人記憶裡，從過去的迷惘經驗中到現在的迷惘談起，從觀看事件，進而透過他人行為看見更多的迷惘。迷惘的原因複雜而且龐大，但更吸引我想要進行更多的了解，是塑造一種可見的迷惘的形狀。在第二章裡，以詩性作為一種想像的定義開始，先從社會的環境談起，藉由觀看人對待動物的行為過程，回應一種人在社會環境的處境：例如自我認同、消費社會的購物倫理、生命價值判斷扭曲等等，皆透露出社會現實的疏離感所導致迷惘的可能性。在第三章進行作品內容形式分析，分為四個部分：第一部分先談作品內容中的模仿特質，以阿多諾的模仿論作為參照；第二部分經由模仿過後的身體，如何成為生命造型的表現，加以說明在我創作裡的身體的意義；第三部分在二元媒材的選擇的部分，兩種對立的媒材特性呈現出的作品樣貌；第四部分當作品被放置在空間時，找尋作品的脈絡定位，一種介於雕塑與裝置之間的關係。最後，在第四章在歷史的脈絡裡，尋找與我創作形式相似的藝術家作品，作為我概念上的對照，並且提出自己藝術創作的特殊性。在最後的結語中，重新整裡全篇的創作論述，回到創作論述的標題—詩性的抽象雕塑：社會情感的轉移，並提出目前的研究所遇到的問題與未來發展的可能。

關鍵字

迷惘；個體；詩性；社會情感；模仿；抽象

並列摘要

The first section depicts the past experiences of confusion to the present condition of confusion within the author’s personal memories, before proceeding to observe more confusion through the behavior of others by viewing events. The reasons for confusion are complex and extensive, but they induce the author to want to understand more and shape a visible form of confusion. The second section begins with poetic essence as a definition for imagination. With discussions on the social environment, this section responds to a human in a social environment by observing the behavioral process of people treating animals. For example, self-identification, ethics of shopping in a consumer society, and the distortion of judgement in life values all reveal the possibility of the alienation of social reality that has led to confusion. In the third section, the analysis on work content and form is divided into four parts. The first part discusses the traits of imitation within the work content, which uses Theodor W. Adorno’s concept of imitation as a reference. The second part illustrates how the body becomes a manifestation modeled by life after imitation and explains the meaning of the body in the author’s creations. On the selection of binary media, the third part presents the appearance of the works with two opposite media characteristics. The fourth part finds the context position of the works when the works are placed in a space, a relationship between sculpture and installation. Finally, in a historical context, the fourth section discusses a search for artwork that possesses creative forms similar to those of the author as a comparison for the author’s concept. In addition, the special nature of the author’s works is presented. In the final conclusion, the whole paper’s creative discourse is rearranged, and the paper returns back to the title of the creative discourse – the abstract sculpture of poetic essence: the shift of social emotions. The author then raises current issues in graduate school and possible future developments.