雕塑是立體空間的藝術創作型態,它作為人類生命自我意識表現的代表,雕塑是對生命本質體認`的一種具體表现。我們常常對作品產生諸如“渾厚”、“堅韌”、“具生命力”等等的感受與評價,我們之所以有這種感受,是因為雕塑對生命的本質的探索與表現。在雕塑生命力的表现上,從量體、動態、材質、線條、空間的運用等方面探討雕塑的生命力。 本文將從第一章我的創作哲學「觀自在」談起,及我創作中所側重的諸概念。第二章則是剖析我的創作手法,「下意識流露」,藉分析(一)分解重構的觀察;(二)隨機取樣的穿透;(三)參數變形,這三個主要手法,流露自我及文化裡的集體自我手法。第三章探討個人創作以來的主要議題:(一)重複;(二)循環;(三)穿透;(四)寓意。第四章則檢視我的作品內空間與公共場域的關係。最後,第五章結論呈現的是我面對自身創作未來面對作品外部空間的態度。期望藉由這樣的剖析深入地呈現個人的創作的每一個面向,也藉由這樣的書寫檢視自身創作的未來。
To me, sculpture is a three-dimensional creation. Sculptures represent the self-consciousness of the human being, and represent the intrinsic value of life. Usually people have many feelings and evaluations about art works, such as: ‘majestic’、‘strength’ and ‘vigorous’, because people feel what sculptures deeply represent---the intrinsic of human being’s life. The way of my creation is through the revelation of unconsciousness. Only through this revelation then the transcendence can be possible. The Transcendence enables me to pierce my limited knowledge and educated background; therefore, the intrinsic value of life could be represented. In the first chapter I will talk about my aesthetic---‘Looking for freedom of mind’. Then, in the second chapter, I will analise my creative methods which I name ‘The revelation of unconsciousness’. In chapter three ,there are four category issues of my creations: a. repetition, b. cycle, c. penetrate, d. message. The following chapter will review the relationship between inner and outer space in my sculptures. The final chapter will try to indicate how I face the issue about outer spaces or, say, public sites.