虛擬日常的異變重構 – 許君瑋水墨創作論述

一如命題「虛擬日常的異變重構」所示，本創作研究期待在水墨創作中透過異質組構的複合創作模式，探尋紙材複合後的意境轉化可能，以及身體觀的不同詮釋手法。藉由異化（液化）創作手法的介入與實踐，將獸首嫁接人身，置入虛擬日常，以「獸形人」展開網路世代異化的種種情境，反映現代人對於即時資訊與虛擬網路世界的依賴處境。第一、二章依循藝術史脈絡延展，彙整與「異變重構」相關的文獻研究、創作文本等。就創作緣起，探討網路世代生存狀態與創作趨向；透過文字、圖像資料的彙整，爬梳藝術系統中變形思維與身體觀念的衍變脈絡。本創作研究實踐的中心章節為第三、四章，藉由創作模式、內涵、技法的探討，形塑「異變重構」的創作論述基調。第三章以「異變的身體」為論述核心，透過臺灣當代水墨創作中的「變體」與「混種」創作模式，進行變形身體作品的創作分析，歸納網路世代水墨創作者的創作思維與特質，從中探尋變形身體圖像在臺灣當代水墨創作中的意義。第四章以「獸形人」的構成與敘事空間，藉由異質組構的創作模式，表述人獸合形（獸首人身）混種形象的創作思維，探究線性紋樣與複合紙材的可能性。第五章為創作實踐與作品說明，「獸形人」系列透過獸首人身的變形身體形象，演示日常各種被異化（液化）的生活切片；「替身操演」系列擷取生活中的奇幻文本再詮釋，或與局部肢體結構搭配，顯露記憶中的特殊時刻；「微敘事」系列則以細膩的線條描繪，表現線性的鑲嵌組織，嘗試形塑個人式圖像語彙。第六章結論，依創作研究實踐成果歸納觀念理論。

關鍵字

網路世代；異質組構；人獸合形；異化；液化

並列摘要

In order to explores “Vision Reconstruction from Virtual Daily Routines” on the composite creation of heterogeneous composition in contemporary ink paintings, this study discusses the alienation with papers and focuses on the unique definition of body views. With the intervention and practice of alienation, the author attempts to explore the myths of human-animal objects and the possibility of extension so as to reflect people nowadays rely on up-to-date information and virtual world which is full of abnormal contexts. Chapter one and two are focused on literature review about researches and texts in the field of “heterogeneous composition”. The author collects the origination of creative works about net generation in daily life and discusses the development of thoughts about deformation and body parts by reviewing literatures, images and etc. Chapter three and four are center on the methods, objects and techniques of works based on the concept of “heterogeneous composition”. Chapter three is the discussion of heterogeneous bodies. The author analyzes the creations of heterogeneous bodies which are using the techniques of “transformation” and “hybrid” in Taiwan Contemporary Ink Painting. Moreover, the author summarizes the creative thoughts and features of ink painting artists among net generation in order to conclude the meaning of heterogeneous body images in Taiwan Contemporary Ink Painting. Chapter four is the structure and narrative space of Human-Animal. The author expresses creative thinking about heterogeneous composition of human-animal images and discusses the possibility of linear patterns and composite paper. Chapter five is series and analyses of works. “Human-Animal series” is about the alienation and liquefy of daily life with deformed human-animal images. “Stand-in Performance series” reinterprets fantasy novels with body parts to appear special moments in one’s memory. “Micro Narratives series” uses exquisite line drawing to show linear mosaic tissues and attempts to display personal icon language. Chapter six is conclusion. The author expresses art creation and theory by reviewing his works.