異化風景－都市中的懸疑與逐漸隱沒的軌跡

本研究基於筆者的創作風格與脈絡，選擇以風景畫為主要的表現題材，藉以表達對於當代臺灣都市的批判與感動，因此，相較於純粹風景寫生的練習，本系列創作更偏向對於藉景抒情的風景畫之研究與實踐。以風景為主體，藉景抒情的表現方式在美術史與當代的藝術創作當中相當常見，有些創作者選擇直接將風景變形，或將風景當中某些特定元素變異，成為詭異而神祕的風景；也有創作者如實描繪所要表現的風景，卻運用構圖、色調等元素的安排將風景變異成自己內心的風貌。上揭的各種風景畫風格，筆者於本研究當中將其統稱為「異化風景」，並以「明顯異化風景」、「非自然風景」與「隱晦風景」將其分類，經與馬克思主義、法蘭克福學派、存在主義，與美術史當中的浪漫主義、形而上畫派及蒙太奇手法等畫派理念相互參照以成系統，得出本研究創作的理論基礎與脈絡。在研究範圍方面，本研究以「地方性」與「時代性」兩方面進行梳理，作品中呈現出當代臺灣都市的各種社會現象與面貌，並基於筆者的成長經驗與美感體驗，運用動物、人物與糖業鐵道等元素將尋常的臺灣都市街景從熟悉的記憶中模糊化，形成一種似曾相識卻不曾存在的風景，並藉以將作品分為「都市中的懸疑景象」與「逐漸隱沒的都市軌跡」兩系列，藉此以「異化」的方式喚起觀者對於周遭生活的關注與懷疑，進而共同面對、思考臺灣當代的各種現象與問題。

關鍵字

異化；臺灣都市；糖業鐵道；懸疑

並列摘要

According to the author’s creation style and process, landscape paintings in order to express the author’s criticism and touching feeling for the modern cities in Taiwan are chosen to be the main subject of this study. Thus, unlike simply just the sketching practices, the emotional paintings in this study are the main subject the author put more emphasis on their research and display. In the creation of art history and contemporary art, it is quite common to find that painters usually use the scene as the main theme in their landscape painting to express their emotional feelings. To express their emotional feelings, some of the painters choose to deform the scenery directly, or change the shape of some specific elements in the landscape, making the scenery becomes strange and mysterious. Others depict the main landscape truly without any shape changing, but they deform the landscape to show their inner feeling in terms of the composition and the hue they present. For the abovementioned styles in landscape painting, in this study, the author defined them as “Varied Scenery,” which can be further classified into three subcategories－“explicitly varied scenery,” “unreasonable scenery” and “implicitly varied scenery.” Furthermore, the conceptual framework of this thesis contains Marxism, Frankfurt School, existentialism, romanticism of art history, Metaphysical painting school and montage. The landscape paintings of this study are analyzed and discussed by their “local characteristic” and “contemporary spirit.” The paintings illustrate different kinds of social phenomena and features in modern Taiwan cities. Based on the author’s growing and aesthetic experiences, he defamiliarized the usual street scenery in Taiwan cities by using the elements of Taiwan Sugar Corporation’s (TSC) railway, making the scenery looks so familiar but never exists in reality. Through the way of this kind of “variation,” the author wanted the viewers to doubt and pay close attention to what happens around them, and then confront and rethink the phenomena and problems we encounter in modern Taiwan.