邊緣之幻 — 林承翰創作論述

摘要「邊緣人」為當下常聽見的網路用語，述說著各種被社會所漠視、排斥的人。在當今過曝且壓抑的社會裡，自出生那一刻起我們便開始被動接受著社會化的浸染，當我們將自身幻化成籌碼於社會中與人交流、交換時，我們就早已身處在異化的社會中，因感受到自身的渺小，無力改變社會現況的我們戳不破這個真實的謊言，轉而在這個謊言中開始尋找真實的自我。於是乎，個體在社會中開始以一種玩世不恭的態度生活著，以詼諧、白日夢的方式來面對生活中的一切。本文以筆者研究所期間的作品為研究對象，以「邊緣之幻」為主題來記錄當今社會中犬儒主義者的生活樣貌，而「舒適圈」可以說是個體與社會間的中間場域恰好為我們提供了一個緩衝地帶。筆者欲透過幻想的天馬行空，讓人群中的個體得以暫時解脫這種不舒適的狀態，個體雖被迫生活在社會中離不開人群，但同時卻也可以在其中抱持著一個邊緣者的心態，靜靜地在不起眼之處觀察著這社會上一切的變化。第一章中簡介了創作發想的動機及關鍵字的名詞定義；第二章則進一步的分析當今社會下的邊緣人如何出現，現代犬儒主義是如何使我們得以擁有一種新的態度來面對這過曝社會所帶來的負面情緒；第三章列選了幾位藝術家的作品，欲借鏡他們畫作中所展現出的舒適圈多重包容力，來探討我們如何在幻想世界中自我調適；第四章以筆者「邊緣之幻」系列創作進行作品分析，將生活所感進行幻想之地的意境形構，把筆者渴望無拘無束的一面投入在畫作中的主角，渴望在生活裡找尋一個較為舒適的平衡點並期望與觀者產生共鳴；第五章為本文的結論，筆者除了期盼在創作之餘亦反映社會現況外，藉由角落觀察者的身分探討這樣富彈性的舒適圈，使我們得以在社會中更加具適應性，並且能在其中悠然自適。

關鍵字

邊緣人；過曝社會；犬儒主義；舒適圈；當代水墨

並列摘要

Abstract A slang term "marginal man" at present refer to individuals who is disregarded, ruled out or not accepted as a member of a group. People are urged to integrate socially since birth, and accordingly have been alienated by accustoming ourselves, as a bargaining chip, to the modern stress-filled and "overexposed" society. Not able to reveal the truth behind the world, we unavoidably turn to our true selves. As a result, individuals nowadays rather live amusingly and regard their lives as playful daydreams. "The Imaginary Space of the Marginal Crowd" is a phased study on my artistic creation about modern cynic life during the M.A. program. I tried to create a "comfort zone" with playful imagination for the temporary escape, such a field can be considered a buffer zone between individuals and society. Even though the individual and the society are mutually inseparable, there might be a place where we can stay detached from the crowd, watching from the sideline, or namely, being a "marginal man". Chapter one includes the initial idea of creation and several definitions of terms, and chapter two the further discussion on the presence of "marginal man" nowadays as well as how cynicism providing us a possible perspective to the negative influences from the "overexposed" society. In chapter three I mention a few artists as examples of works showing what I have referred to as "comfort zone", and how such an imaginary field may help us adapt. The main focus in chapter four is the discourse on my creation series "The Imaginary Space", which is the practice of establishing a field by imagination, the feel in daily life, and the desire of living free and unrestrained, hoping to find a connection to the audience. Lastly, as the conclusion of chapter five in response to a contemporary cultural phenomenon, the attempt is made to reach an ambiguous position in the social system, allowing more reflexibility and adaptability to treat life with ease.