《流韻‧城市》—鍾惠如創作論述

本論文主軸放在水的意象與城市的集體孤寂兩者，以波蘭學者齊格蒙．包曼（Zygmunt Bauman1925-2017）的液態理論為出發點，尋找流動快速的關係與概念，即便是餘韻，隱約在之後的延伸也足以嚮往。水豐富藝術家的情感湧現，水的萬象鑲嵌進城市，而現代城市，標榜的是理性快速同時簡約，不論是藝術、建築甚至人際關係，遠離家鄉或者離開家中工作不斷進行大小遷徙的人們就像是流動的水分，在城市中交集匯流。本是固態且尋求庇護般的精神意義，居於其中的都市人卻又矛盾害怕被禁錮，崇尚多元彈性如水盈於容器其自平，尋求共感卻又期待享受自我，講求輕盈卻依舊被內心的需求迴旋著，如水順地曲折時而交會時而分離。如今疫情時代更深深刻畫心中這份情緒，在這看得見與看不見的城市，人人各自待在玻璃封閉的窗格中細數孤寂，科技媒體讓每個人內心距離更遠。以藝術觀點重新閱讀自己，孤寂疏離已經不是負面詞彙，而是生活日常，適應人際相處的變化將其成為存在的體會，將視線順著流水放射到遠處，浩渺未來的平靜。

關鍵字

液態社會；社會疏離；照相寫實主義

並列摘要

Abstract The thesis is focused on both the image of water and the loneliness of the city. It begins with Bauman's (Zygmunt Bauman 1925-2017) liquid theory, looking for fast-flowing relationships and concepts. Water enriches the emotions of artists, and water is embedded in the city. Modern cities symbolize efficiency, simplicity, and rationality, whether it is in art, architecture, or even interpersonal relationships. People who are far away from home or have left home for work are like creeks that flow and converge inside the cities. People intend to seek out safe asylums, but feel afraid of being imprisoned, advocating diversity and flexibility, like water surging in a container, and self-leveling, seeking sympathy, but looking forward to enjoying themselves, emphasizing lightness, but still being demanded by the heart, like water twists and turns and meets and separates. Nowadays, in the era of the epidemic, these emotions are drawn more deeply in the heart. In the city that is both seen and invisible, everyone stays in the glass-enclosed panes and counts the lonely days. Technology seems to make everyone feel apart from each other. Re-reading oneself from an artistic point of view, loneliness and estrangement are no longer negative words but daily life routines. The comfortable result is adapting to the changes in interpersonal relationships and turning them into an experience of existence, keeping our eyes, along with the flowing water, to the distant horizon, to the calm of the future.