感知痕跡的留存

本篇論述旨在闡述個人於研究所期間的創作理念和狀態，從生活經驗的感知中，把「平常」、「平淡」這種無法言喻的感覺試圖保留下來。創作過程以提取我的記憶的形式概念，作為創作的論述軸線。每一次展開的記憶，都將過去的某一時刻與不斷發生的當下相互連結，而連結的方式因人而異，我透過絹印的形式，把記憶中的影像，在一層層堆疊的同時，當下感受與記憶之間便會產生一種模糊卻又真實的狀態。全文共分為五章，第一章闡述日常生活的“平常性”是我創作的核心，並簡略敘述企圖再現的感知樣貌。第二章說明記憶的模式如何影響創作思考，多以片段、瑣碎的方式進行。第三章描述因“進入”工作室模式，使我的創作型態與作品樣貌有所改變，並就媒材的特性，說明在創作上的必要性。第四章以個人作品說明為主，首先提及自然在我生命扮演的角色，並以馬克・羅斯科（Mark Rothko，1903-1970）與瓊・米謝爾（Joan Mitchell，1925-1992）的創作來相互探討和比較。第五章為結語，回觀個人創作與未來期許。

關鍵字

記憶；風景；感知；痕跡

並列摘要

The purpose of this study is to explore my personal creative philosophy and state in graduate school. From my perceptions and experiences in life, I attempt to preserve the kind of routine, plain and unspeakable feelings. In the process of creation, I draw from my memory as the foundation of my creative discourse. Each time I draw upon my memory, it is connected to a moment in the past, while the connection created differs from individual to individual. Through silkscreen printing, I try to create layers of images in my memory. As a result, the perception and the memory of a speciﬁc moment creates a state of vagueness and reality. The thesis is written of ﬁve chapters. Chapter 1 of the study explores how the “normality” or “routineness” of daily life is the core of my art creation, while elaborating on the perception I am trying to present. Chapter 2 explores how the mode of memory inﬂuences my philosophy of creation, and how my thinking about creation is usually fragmented and scattered. Chapter 3 depicts how by “getting into” the studio mode, the form and face of my creation changed as a result. This chapter also discusses the necessity the characteristics of the medium used. Chapter 4 focuses on my personal art creation, and explores the role of nature in my life. At the same time, the work of Mark Rothko (1903-1970) and Joan Mitchell (1925-1992) are discussed and compared. Chapter 5 concludes the study and reﬂects upon my personal work while also including future prospects.