變形人—多重自畫像：林子喬創作論述

Metamorphoses — Multiple Self-Portraits： Creation Description by Lin Tzu-Chiao

林子喬(Lin Tzu-Chiao)

指導教授 ： 程代勒

國立臺灣師範大學/藝術學院/美術學系/碩士(2011年)

摘要

本研究主要從自身為主體的內心省視作為出發點，經由個人對心靈的自我觀察、對話，從自我意識的與潛意識的層面，檢視內在的心理情緒，並從變形的人形，探討當代的一種新式的多重自畫像。
並藉由瑞士心理學家卡爾．榮格（Carl Gustav Jung，1875-1961）的人格面具（persona）以及陰影（ombre或英文：shadow）為主軸，與拉岡（Jacques Lacan，1901-1981）的精神分析學鏡像階段（mirror stage）的部份為輔，透過論述的同時，也將自身的生活經驗和創作背景，與此做相關連結和分析。
在創作表現上以簡化、誇張、怪誕的表現方式，運用在這段研究的創作，以卡漫的圖樣式頭部，結合素描寫實的人體，加上媒材的混合使用，使水墨畫、膠彩畫和素描畫組合成一個混搭式的視覺圖像。
畫面以「肉體」、「人形」作為創作的承載物，運用心理層面分析，探討其身後的記憶，其過程「變形」為最主要的要件，透過意識與潛意識、真實與夢境，交互的影響轉換，用自省的態度來作為觀察自我的方法，再將抽象的多重自我形象轉化成可觀看得平面，並以此具象的平面再重新審視自我的真實樣貌。經由個人的思惟轉換，加以變形成另一軀體的表現，增加了創作者本身的獨特的感知與感應，跟隨著時間的推進，這感知與感應也會隨之再進行轉化，而漸漸形成獨特自我風貌的「多重自畫像」。

關鍵字

人格面具 ； 陰影 ； 鏡像階段 ； 變形 ； 多重自畫像

並列摘要

This dissertation begins with an inner reflection on self as subject. Through personal observation and dialogue with the psyche, the writer examined his own consciousness and sub-consciousness, and from this process, has developed a series of transfigured human forms. Meanwhile, the writer has used these creatures as a starter to explore a new kind of multiple self-portraits of modern times.

Taking Carl Jung’s concepts of “persona”and “ombre”(shadow) as main points of reference, supported with Jacques Lacan’s psychoanalytical concepts of “mirror stage,” the writer also offered his personal experience and creating background as materials to be related to or analyzed.

These multiple self-portraits were done with simplified, exaggerated, and grotesque expressions. The figures have cartoon-styled heads and realistically-sketched bodies. With combination of several media (like ink, glue colors, charcoal pencils…) the writer/painter has created visual images of mixed styles.

Using “body”and “human shapes”as a main way to creatively express himself, the writer/painter probed into his memories psychoanalytically. It was in this interchange between conscious and subconscious phases, between reality and dreams, between outpouring of creative energy and self-reflection that “transfigured shapes”stood out as a distinctive feature of his paintings.A human form appeared on a painting as a result/embodiment of the writer/painter’s inner process, and then another inner process began as a result of his interaction with this painted human form. That is to say, the writer/painter’s unique “feelings and understanding” of the moment triggered the formation of a particular“shape”, and this certain “shape” in turn induced another round of “feelings and understanding”. Thus is born the indefinite and ever-evolving “multiple self-portraits”.

並列關鍵字

Persona ； Shadow ； Mirror Stage ； Transfiguration ； Multiple Self-Portraits

參考文獻

3. 卡夫卡（Franz Kafka），《變形記 》，姬健梅譯，臺北市：麥田出版，2010。

4. 史帝文．貝斯特（Steven Best）、道格拉斯．凱爾那（Douglas Kellner），朱元鴻等翻譯，《後現代理論：批判的質疑》，臺北市：巨流，1994。

10. 克里普納、柏格莎朗、迪卡瓦荷（Stanley Krippner、Fariba Bogzaran、Andre Percia de Cavalho），《超凡之夢﹣激發你的創意與超感知覺（Extraordinary Dreams and How to Work With Them）》易之新譯，臺北市：心靈工坊，2004。

14. 黑格爾（Georg Wilhelm Friedrich Hegel）著，《美學一》，朱孟實譯 ，臺北：里仁書局，1981。

一、中文書籍