行動反應中的凝視－自畫像中不可見的他者

自畫像是西方繪畫中一種特殊的類型，藝術家以自畫像作為自我形象的再現與塑造，並由形象再現展延出其所欲傳遞關於個人情緒、意識與宗教、政治、社會議題的批判。因此，自畫像是藝術家在各種意識形態作用下反映實體存在的結果，也是反應社會環境的承載體。本創作研究，筆者以自畫像的繪畫形式進行創作，透過一個主體想像的他者，並在此他者目光凝視下建構出主體慾望投射的自畫像原型，而以此原型構成畫面視覺表象的主體。在理論部份筆者以跨領域的研究方式，深入拉岡精神分析與阿圖塞意識形態中關於主體建構的論述進行探究，逐步釐清主體建構與意識形態作用之關聯，並以其探討結果為創作理論陳述之支持。在創作研究過程中，筆者透過自我與自我生存場域之觀察，試從個人創作狀態中抽取意識，作為創作意識的信息，進而讓自畫像原型中「擬態」的表象成為一種個人創作意識的信息傳遞，透過文本論述的提出與畫面表象最終的呈現，將筆者所欲傳遞關於主體與意識形態的信息依附在一個「凝視」與「被凝視」的觀視結構中，透過此觀視結構的展開，將觀者納入筆者建構的「不可見的場域」中，企圖讓觀者通過參與作品的過程獲得信息，並在觀者的介入中達到筆者信息傳遞之目的進而影響觀者意識，迫使觀者通過思考而產生另一個面對自己與自己所處環境的觀看方式。

關鍵字

自畫像；凝視；意識形態；擬態

並列摘要

Self-portrait as a special genre in western painting has long been used by artists as devices in pursuits of self representation and cast of images that conveys meanings and awareness of religious, social and political issues. A self-portrait is the result of the artist’s efforts to reflect the presence of an entity under impact of various ideologies and serves as a carrier responding to the social environments. In this study and creation of a series of paintings, the author starts with painting self-portrait as a format and tries to construct the proto type of self-portrait cast by the subjective desire under the gaze of a novel third party coined by the subject, and in turn to build up the visual presentation of the subject in picture. In theoretical ground, the author tries to explore the subject construction arguments found in the psychoanalysis by Jacques Lacan and the ideology postulated by Louis Althusser, and thus clarifies step by step the correlations between subject construction and ideological mechanism, furthermore uses the results obtained through the exploration and discussion as support for the creation theory presentation. In the course of this study, the author tries to extract the awareness from the personal creation state through observation on both the ego and the field of self-survival, and furthermore makes the representation of mimicry in the self-portrait prototype serves as one of the fashions of information transferring for personal creation awareness. At last, through presenting the argument of this study and ultimate presentation of the picture representation, the author strategically attaches the messages of the subject and ideology to pass on intentionally to a “Gazing vs. Being Gazed” spectator structure. And through launching the spectator structure, the study puts the spectator into the “invisible field” constructed by the author, trying to make the spectator receive the message through the course of participating in the work creation and to achieve the goal of transferring the author’s message during the intervention of the spectator, and in turn trying to influence the spectator’s awareness and lead the spectator to adapting to another way of regarding the self and the surrounding where the self rests through reasoning alone.