穿透．游移──時間感應中圖像與空間對話的水墨創作思考

Penetration and Vacillation: The Dialogue between Image and Space within Time Consciousness as Creative Thinking for Ink Painting

莊連東

指導教授 ： 林昌德 ； 李振明

國立臺灣師範大學/藝術學院/美術學系/博士(2010年)

摘要

本創作研究選擇以單一圖像作為水墨創作探討的題材，試圖從圖像的內在意涵特質與外在表徵形象對存在的空間意識進行審視與對話，在時間因素的介入下形塑視覺狀態各種可能性的鋪陳，進而提出對應藝術概念上「穿透」與「游移」精神的創作實踐。檢視圖像的精確性、模糊性、象徵性與觀念性所蘊含的內涵在空間中的存有，釐清圖像表彰的語彙深度，並從其行為模式牽動的意義指涉，延伸相關元素的可能連繫。於是，創作者試圖從蜘蛛以織絲結網獵捕食物的生物本能中透出對空間場域性質的思考，即從空間的客觀性、主觀性、虛擬性與社會性，推衍當代對空間意識的重新詮釋與論述，確立現代空間屬性中多元觀念混融的整體思維，並以時間的流動特性作為擴延圖像與空間表述面向的寬度，同時，揭示創作者與閱覽者在場域平台同構與互動的藝術價值。
而透過剖析當代水墨創作作品對結合圖像、空間與時間三者合一思考的系譜脈絡，各種觀點的探討與各類表現樣式的比較之後，歸結出自我創作實踐的研討面向於可行的實踐步驟，然後透過燒烙與映襯技法的應用，體現「穿透」與「游移」的行動概念具體存在平面空間的力量，同時也運用塑造與切割的方法，製造半立體的蜘蛛圖像，以及畫幅前後並置懸掛的形式，建構空間立體性對話的場景。最後分別以「開放性」、「半開放性」與「封閉性」三種創作面向的作品呈現對本主題意涵的闡釋。

關鍵字

水墨創作 ； 穿透 ； 時空合一 ； 游移

並列摘要

This creative study takes up one single image as the source for creative ink painting production. It attempts to examine and engage the space consciousness of existence through the internal sense and external form of the image in question. Under the influence of the time factor, this study explores all possibilities of forming the visual conditions. On this basis, this study culminates in creative performances that correspond to the artistic concepts of “penetration” and “vacillation.”
This study examines the precision, ambiguity, symbolism and conceptualization of the image, traces their existences within the space, elucidates the vocabulary depth of the image, and extends the possible connections of the relevant factors from the signification of its modes of behavior. In this way, adopting the mode of a spider instinctively building a web for preying, the creator builds up his contemplation of the space field. From the objectivity, subjectivity, virtuality, and sociality of space, the creator explores the contemporary re-interpretation and discourses of space consciousness, consolidates the hybridity of diversified concepts in modern space factor, and adopts the fluidity of time to expand the discourse range of the image and space. At the same time, this creative process promotes the artistic value of the construction and interaction of the creator and reader-viewer in the same sphere.
By examining the genealogical context of the synthetic thoughts of image, space, and time in contemporary ink paintings and by comparing the discussion of different viewpoints and the performances of different forms, this study moves from the researching of possible creative practices to the concrete and viable process of creation. Adopting the techniques of burning and pasting, this study attempts to embody the concepts of “penetration” and “vacillation” in real two-dimensional space. At the same time, this study adopts the methods of sculpting and cutting to create a semi-cubic image of spider. In terms of the arrangement and exhibition, this study chooses to hang the fore and aft sides of the painting in parallel, establishing a scene for three-dimensional dialogue. Lastly, the study will expound this thematic concept through serial works that cover the three aspects of “open,” “semi-open,” and “closed” creative process.

並列關鍵字

Ink painting creation ； Penetration ； Assimilation of time and space ； Vacillation

參考文獻

開一心，〈空間、記憶與屬性認同：論《偶然生為亞裔人》〉，載於《中外文學》（第33 卷，第12 期，2005.5）。

Tim Cresswell 著，徐苔玲、王志弘譯，《地方：記憶、想像與認同》，台北市：群學，2006。

弗雷德里克．詹明信（Fredric Jameson）著，張旭東編，《晚期資本主義的文化邏輯》，北京：三聯書店，1997。

朱剛，《20 世紀西方文藝文化批評理論》，台北市：揚智文化，2002。

佛洛伊德（Sigmund Freud）著，呂俊，高申春，侯向群譯《夢的解析》，台北市：米納貝爾，2006。