過往記憶—王雯婷水墨創作論述

記憶伴隨每個人的生活，在生活實踐中帶有過去的印記，個人的記憶是一個繁複、龐雜的體系，回返、追憶是生命實踐的一種方式。通過對自我認知的逐漸加深，對繪畫的發生、對作品圖像與物件乃是自我經驗的反映的認識，作品所塑造出的畫面帶有主觀性表達和情感轉移的成分，這些記憶圖像所描繪出的情境，包含對過去記憶經驗的想像與對未來的期待，由此建構出一個由碎片化的再現記憶所拼湊成的虛構畫面，非真實的繪畫情境。第一章緒論部分論述研究的動機與目的、研究內容與範圍、研究方法與限制、並解釋名詞。第二章以記憶的意涵與轉化形式，用本體論說明記憶的研究理論，認識記憶的意象和記憶的轉化過程，轉化的記憶與創作之間的關係。第三章透過個人的創作思維與實踐，闡述創作中的主要元素的提取，包括寫生素材與符號化的提取、構圖中採用的分割空間方式以提煉造型形成畫面之對比、佈置營造虛實空間、色彩以及材料對氛圍的營造。第四章創作面相和作品分析，作品分為記憶新空間、記憶景、記憶心境三個系列，分別闡述主題，論述作品的創作過程與表現形式。第五章結論部分做出成果回顧，審視過程中出現的問題，對未來創作的展望。創作是對生活體驗的一種寫照，透過藝術創作的行為，檢視內心感受，將創作行為作為整理自身情緒和思緒一種工具，創作中的景象畫面，不僅是對外在能見世界與經驗的事件所感受到的能量，也是對個體所經歷的事件所殘存的記憶去吸收與釋放。因此，透過創作行為，去穿透那些過往的記憶，顯化、釋出這些記憶的感受性，帶著新的生命體驗，去觸碰過去記憶，藉由作品去感受個人生命體驗，觀看自身內在，去探討這股動力與創作之間的關聯。

關鍵字

水墨創作；過往記憶；重構；綿延；意象

並列摘要

Memories are everywhere in people’s life and the practice of life is always accompanied by the records from the past. Personal memory is complicated with numerous systems, of which one of the methods for life practice is retrospection and recalling. Through the increase of self-recognition, perception towards the process of painting, graphic artwork, and articles is then the reflection of self-experience. Pictures created by the artwork usually contain the elements of subjective expression and emotional transference. The scenarios portrayed by these memory images include the imagination of past experience in memory and the anticipation for the future, further establishing a fictional picture that is pieced together with fragmented memory representation, instead of a real painting circumstance. The introduction of chapter one explains research motivation and purpose, research content and scope, research method and limitation as well as the glossary of the terms used. Chapter two focuses on the meaning and transformation of the memory, describing research theory of memory based on ontology so that one can be familiar with memory images and memory transformation process, as well as the relationship between memories transformed and creation. Chapter three elaborates on the extraction of key elements during creation through personal creation concepts and practice, including the collection of painting materials and symbolization, space dividing method used for composition in order to refine styling for the contrast of the picture, deploy and create space between fantasy and reality as well as build atmosphere with colors and materials. Chapter four analyzes creation orientation and artwork; the artwork contains three series, including: new memory space, scenes in memory, and memory of state of mind, to discuss the topic, creation process of the artwork, and forms of representation separately. Chapter five, which is the conclusion, reviews the performance to examine the issues appeared during the process as well as the outlook for future creation. Creation is a portrayal towards life experience and the initial feelings are examined through the behavior of art creation; the creation behavior is used as a tool to organize one’s emotions and thoughts. The scenes and pictures on the creation are not only the energy received from external visible world and events experienced, but also the absorption and release from the remaining memories on the events that individual experiences. Therefore, past memories are penetrated through creation behavior and the perception on these memories are manifested and released in order to touch the past memories with the new life experience. Personal life experience is perceived through the artwork and the inner self is reviewed in order to investigate the link between the motivational force and creation.