摘要
「我一直在離開。」 「離開的時候，我企圖留下些什麼。」 當今社會快速的變動，環境空間的轉變，速食化的、商業化的與不帶有情感式的交流態度，我開始懷疑，對於記憶，我擁有什麼，這種快要遺失卻想緊緊抓住的焦慮狀態，是否與個人的成長環境背景相關？透過紀錄與記憶的再現手法，試圖在創作的過程中，竭盡所能的保留那些記憶所存留下來的溫度。 離別和空間的去與留有如制約般的產生，對於這種現實性的焦慮行為中，並非採取一種逃避的態度，而是作為一個訊號，我開始思考，如何保留住這種情感上的關注。要如何去保存，紀錄的行為便是重要的關鍵。猶如寫日記一樣，我採取不加修飾的方式表現，將當下即將要消逝的空間作紀錄，因為隱藏其後的情感意義，對我個人而言無法準確的明說，唯有空間的存在，才可能確切連結到隱藏於物件背後的記憶。以版畫為創作的方法，透過版畫技法的研究與混合併用，空間的沉澱作為再現記憶的手段、再製空間成為捕捉記憶的方法。 本論述共分為五章。在第一章中，以散文體裁進入研究動機與目的探討。第二章，為個人創作理念的闡述說明。第三章，探討版畫、攝影、錄像藝術的歷史脈絡與創作上的啟發。第四章，說明紙凹版技法和裱貼法的研究心得。第五章，結語和個人對於未來創作的期許。 關鍵字：版畫、凹版畫、塗佈白紙板（白玉板）、裱貼
並列摘要
“I have been leaving all the time.” “When I get away, I attempt to keep something.” Nowadays, with transforming the environmental space, the society is changing as quickly as fast-food-like, commercial-like and apathy-like. I begin to doubt what I have for memories? Is the restlessness condition which is seemed to disappear but caught tightly connecting to personal background? Through the representative method of recording and memorizing, I try my best to save little things remained from memories during the period of my creation. Departure and the alternative of leaving and staying happen causally, facing such realistic anxious behavior. I don’t escape but take it as a signal, and begin to think how to maintain this emotional attention. As for how to maintain, the behavior of recording is the key. Just like writing diaries, I adopt the method without any embellishments to express and make records of the disappearing space. For me, I can not explain the emotional meaning hiding behind the objects exactly. Only the existence of space can connect to such memories, by using printmaking techniques as a means of memories representation, and recurrence of the space as the mean of memories catching. This study is divided into five chapters. Chapter one intends to get into research motivations and target discussions by way of prose while chapter two is the interpretations of my creation. Chapter three contains not only the research of printmaking, photography, and video art but the historical context and creative inspiration among these three elements. Chapter four is the research reflection of intaglio by using coated white board, and the technique of Chine Colle. Lastly, chapter five is conclusion and future anticipation. Key words：printmaking, intaglio, coated white board, Chine Colle