場所收藏－黃則翰創作論述

本創作論文解析2018年~2020年個人創作，分析作品所受之影響，以及創作模式、作品的形式與技巧的探討，同時審思自己創作的脈絡與思考。全文共分五個章節，分別為：　　第一章「緒論」的內容包含研究目的、研究範圍與研究方法。闡述筆者的創作從模擬牆面出發，直至今日轉變為物件形式的創作走向，當中涉及的創作動機與創作方式。第二章「場所與收藏」，藉法國哲學家尚．布希亞（Jean Baudrillard,1929-2007）在《物體系》（Le Système des Objets,1968）中所提出「收藏」（collect）觀點做為論述開端，論及筆者本身喜愛收藏，作品也將記憶中的場所轉為「收藏品」的概念創作。另外，關於作品涉及真假問題也在本章做解析。第三章「創作技巧、內容與形式」，解析創作從材料準備到作品完成過程，以及所使用過的媒材，並分別就不同的創作心境，與材質選用的改變，將創作系列劃分為三個時期解說，分別為：「初期－打破二度平面繪畫空間」、「中期－心境的轉變」以及「近期－物件收藏」。第四章「作品分析」，針對「場所收藏」系列，筆者將其分為兩類，分別「日常居所」、「宗教廟宇」系列，內容解析作品形式與風格的差異，以及創作的背景。第五章「結論」，內容包含論文總結與創作未來發展。

關鍵字

複合媒材；個人記憶；收藏；紀念物；場所；台灣老舊建築

並列摘要

This thesis analyzes the personal portfolio from the year of 2018 to 2020, evaluates the influences on the artworks, examines the patterns in creation, and the formats and techniques of the artworks, as well as reviews the structure and the idea of author’s creation. This paper is composed by five chapters, which are as the following. Chapter one— “Introduction” contains the purpose of the artwork creation, and the scope and methodology of the research. It elaborates that author’s creation was started by imitating the wall surface, and has transformed toward the format of objects nowadays. The motivation and method of the creation are also included in this chapter. Chapter two— “Locales and Collections” begins with the perspective of “collection” which was brought up by the philosopher— Jean Baudrillard (1929-2007) in “Le Système des Objets (1968).” It is mentioned in the chapter that the author is in fond of collecting, which is the creating concept that the author has transformed the locales of his memory into “collections.” Moreover, it is also analyzed in this chapter whether an artwork is genuine or counterfeit. Chapter three — “The Technique, Content and Format of the Creation” investigates the process of the artwork creation, from the preparation to the completion, and the mix media which has been used. Moreover, the artwork creation can be divided into three stages in accordance with the author’s states of mind and the changes of material selection. The three stages are: “Beginning Stage — Breaking the Two-Dimensional Plan of Painting, “Mid Stage—The Transformation the States of Mind”, and “Current Stage—The Collection of Objects.” Chapter four — “The Analysis of Portfolio” are divided into two categories in regard to the series of “Locale Collections”, which are “Daily Residence” and “Religious Temples.” In this chapter, the difference of formats and styles of the artworks, and the background of the creation are explored. Chapter five — “Conclusion” includes the summary of the thesis and the future development of the artwork creation.