徐昌彥陶藝創作與應用

本創作論述以筆者近幾年就學心得與研究內容，探討創作者理念與作品表現形式之互動。作者理念構思為作品發想依據，形塑作品樣式，而作品塑造過程與完成後呈現予觀眾所得回應，也回饋作者，進而深化感受，作為後續創作養分。筆者個性內向，偶然機會下接觸到「藝術市集活動」，激發展售筆者陶藝作品動力，且提升個人創作熱情。作者經營陶藝品牌「彥彥」透過擺攤販售陶器，以此為契機與觀者互動，累積經驗與觀者頻繁接觸而更增成熟，用以深化個人創作內涵。筆者參與台南藝品市集活動，擺設藝品主要內容為：生活器皿、陶藝小物為主，希望能與觀者搭起溝通橋樑，透過這樣的藝術交流行為，容許筆者，降低自我防衛心理，讓創作主體構思可透過藝品自然浮現，與觀者互動建立良好關係。本創作論述共分為六章。第一章主要是問題意識以及概述學習經歷與心得，加上重點名詞解釋；第二章討論支持作者創作理念之相關文獻，以比較方式進行；第三章創作理念、表現形式與媒材技法；第四章作品說明；第五章「彥彥」陶藝的定位、應用與推廣；第六章論述總結。筆者創作作品分成「造形陶」與「實用陶」兩類，創作觀或許有所不同，大致分成感性詮釋內心情緒和理性處理實用性細節兩類，然而內在意涵與創作技法則互通並用。筆者、觀者、作品間透過創作行為與展售過程的三角關係互相牽連彼此互動，缺一不可。

關鍵字

陶藝；工藝；台南藝品市集

並列摘要

This creation discourse explains the interaction between the creation concepts and the expression of works through the research content and knowledge gained from the author’s studies in recent years. The author molded the ceramic works based on personal conception. The molding processes and feedback from the audience who saw the finished works to the author further strengthen the author’s affective abilities and nourish creation of subsequent works. Despite the author’s introverted personality, he came across the Tainan Art Market and became inspired to put his ceramic works on sale at an exhibition and motivated to develop his personal creations. The author operates the “Yen Yen” ceramics brand, selling ceramics at a stall. The author uses this opportunity to interact with the audience. Following accumulation of experiences and increased interactions with the audience, the author has grown in maturity and deepened his creation connotations. At the Tainan Art Market, the art products displayed primarily include utensils and small ceramic objects in the hope that a communication bridge can be established with the audience. This type of art exchange enables the author’s self-defense mechanism to be lowered, allowing the main theme of the creation to naturally emerge through the artwork and establishing harmonious relationships with the audience. This creation discourse comprises six chapters. The first chapter mainly concerns the awareness of the problem, knowledge gained from learning, learning experience, and the definition of keywords. The second chapter discusses the literature that supports the author’s concept of creation, and is presented as a comparison. The third chapter presents the creation concept, form of expression, and media and techniques. The fourth chapter describes the creations. The fifth chapter illustrates the niche, application, and promotion of “Yen Yen” ceramics. The sixth chapter concludes the discourse. The author’s creations are categorized into two types: “formative ceramics” and “practical ceramics.” The concepts of creation are mainly divided into two categories: emotional interpretation of the innermost feelings and rational processing of the details on functionality; however, the intrinsic connotations and creation techniques for both categories are interoperable and can be used in conjunction. Through creation and sales exhibitions, the author, the audience, and creations form an interconnected trilateral relation, in which each is indispensable.