人體表象與內在空間

本論述敘述創作者的自我釐清與分析、研究、探討2006年至2013間所創作之作品，在人體表象與內在去探討人體的美與當代社會下影響作者的內心世界的各種狀態，此論述分為五個章節。第一章：「緒論」在敘述作者研究所期間的創作歷程、動機與目的，以及研究的範圍與方法。第二章：「表象與內在」藉由外在的形式、具象的形式、寫實的具象、等三個章節，從作品中去尋找雕塑作品的幾個外在形式，並描述早期的西方雕塑至今的當代雕塑，因時代演進，科技與媒材的進步與多元化，促使作品由較為簡約的手法到技術成熟的寫實作品，亦能使創作者能在每個時代創作出因應世代區塊的雕塑作品。第三章：「具象寫實」－純粹人體之起始，此章節描述作者如何持續在人體的外在進行琢磨，並藉由此磨練來提升自我精神狀態以利日後創作發展下所需的技術層面以及精神層面。經由泥塑的手法來詮釋對於人體的抒情記憶，透過特殊的手感經驗去表達在泥塑創作中的獨特情感。複製身體的技術去引導出人體創作更接近真實的狀態，進而詮釋藝術家對於人體天馬行空的想像力。第四章：「形式上的使用與內涵」－展台的轉化，作品中的空間性運用，日常物的介入，此章節主在描述創作過程中展演的變化，去思考作品之間的相容亦或是衝突。而作品中的空間運用，則在嘗試作品與另一空間的相呼應的關係，在後期作品中也加入了日常物，轉化其使用性，創造作品超現實的想像空間。第五章：「雕塑形式的發聲練習」作品中的社會關聯，社會與自然的無聲對談，作品實踐，此章詮釋2010年以後創作的作品，在議題上加入了些許的社會課題，表達年輕一輩的人們，對於社會與自然的無聲對談，藉由較為詼諧的手段去引導觀者思考自然與人的關係，進而促成一種發聲練習。「結語」總結研究所這期間創作的研究心得，藉由在過程中所獲得創作能量，來對未來的創作抱著期盼與期待，並期許自身能督促自我反省、了解，並能堅持雕塑的本質與精神。

關鍵字

表象；內在

並列摘要

This study depicts a process of self-clarification and analysis by the artist to explore the works he created between 2006 and 2010. These works conduct an exploration of the outer and inner beauty of the human body and the various states of contemporary society that affect the inner world of the artist. This paper can be divided into five sections. Section 1: “Introduction” describes the creative process, motivation, purpose as well as scope and method of study for the artist during his period of research. Section 2: “Inner and Outer Appearances” - Through external and figurative forms and figurative realism, a few external sculpture forms are searched for in the artist’s works. Furthermore, it describes how, due to the evolution of the times as well as advancements and diversity in technology and media, more minimalistic methods and mature techniques of realism have been promoted in early Western to contemporary sculpture. In turn, this has enabled artists to create works of sculpture that correspond with the generations of their respective eras. Section 3: “Figurative realism” - Purely starting with the human body, this section describes how the author conducted deep contemplations of the external body, and how he used this training to elevate his own mental state and develop the technical and spiritual aspects necessary for his later works. Using clay sculpture, he interprets the lyrical memories of the human body. Furthermore, he invokes special hand sensations to express the unique sentiments found within clay sculpture. Techniques for the reproduction of bodies guide works to attain even greater levels of realism, which interprets the artist’s unconstrained imaginations of the human body. Section 4: “The Use and Connotation of Form” - A conversion of the display case, the use of space in a work, and the intervention of daily objects. This section describes changes exhibited during the creative process to contemplate the levels of compatibility or conflict between the works. The utilization of space in the works marks an attempt to convey the corresponding relationship between the work and an alternative space. For later works, daily objects are added, transforming their intended use and creating a surreal space for imagination. Section 5: “The Vocal Exercises of Sculptural Forms” - The social relevance, the silent dialogue between society and nature, the implementation of art. This section provides an interpretation of works the artist created after 2010. Social issues are added to convey the silent dialogue that younger generations have about society and nature. More witty methods are employed to guide viewers into thinking about the relationship between man and nature, which has led to the formation of a type of vocal exercise. Section 6: “Conclusion” summarizes the experiences created during the artist’s time studying at the graduate institute. Using the creative abilities he gained during this process, the hopes and expectations he holds for future works are described, as well as his desire to promote self-reflection and understanding, and adhere to the essence and spirit of sculpture.