探討作品中不可見的交錯 —葉諾繪畫創作之研究

On the Invisible Intertwinement of the Artwork - On No Yeh’s Artwork of Painting

葉諾(No Yeh)

指導教授 ： 洪韵婷

長榮大學/人文社會學院/美術系(所)/碩士(2017年)

摘要

當對美的覺察，從唯一的美發展至與美有著相並列地位的崇高時，就已經打開了美的框架，這從十八世紀時就有跡可循。當代藝術創作拓展了自身獨特領域，作品是意識的理念外化，各種不同媒介呈現不同領域的藝術，推陳出新的藝術形式不斷探問，使用這樣的媒材也是藝術表現嗎？藝術作品既傳達作者自我意識、情感、心靈，也與作者的生活經驗息息相關。藝術形象源自人如何認識自己？如何與世界連結？如何圖解世界？藝術藉著媒材在作品中醞釀所有與作者有關的人生。當代藝術將媒材不斷往極限推展，似乎也在挑戰著藝術的極限。筆者從美學理論和精神分析理論來探討繪畫創作作品中的媒介－「偏光片」，在四個系列的作品中「偏光片」做為凝視這個在場符號的載體，承載投射不可見的意識思維。

關鍵字

凝視 ； 符號 ； 偏光片 ； 欲力 ； 交錯

並列摘要

The frame of beauty has been opened when the perception of beauty has an equivalent position of the “sublime” from the unitary “beauty”—and this phenomenon can seemingly be traced since the 18th century. The contemporary creation develops its singular field of its own, and the work is the externalization of the idea of conscious. The arts coming from different field represent a variety of mediums’ expression, pushing forward the new emergence of artistic medium. This seems to inquire: what sort of artistic medium is this? Can the medium as such be a sort of artistic expression? The artwork conveys author’s expressions of self-conscious, emotion, and spirit, and is intimately related to author’s life. The image of arts comes from how the humans know themselves, how they relate themselves to the world, and how they picture the world. As the contemporary arts constantly push the medium to its limit, they seem to challenge the limit of arts. Based on the aesthetic theory and psychoanalytical theory, I seek to explore the body as the medium in the four series of painting works. Body as the embodiment that gazes upon the sign of presence bears its projective conscious to the invisible conscious.

並列關鍵字

mediu ； mgaze ； polazizer ； trieb ； intertwinement

參考文獻

書目：

1 : 大衛·霍金斯 （2012），蔡孟璇 譯，《心靈能量》。台北：方智出版社。

2 : 朱光濳 （1998），《談美 》。台中：晨星出版社。

3：尚·拉普朗虛，尚-柏騰．彭大歷斯 （1994），沈志中，王文基 譯《精神分析詞彙》。台北：行人出版社。

4：彼得 布魯克 （2004），王志宏 李根芳 譯，《文化理論詞彙》。高雄：巨流出版社。