論攝影之媒材創作形態所表徵的地方感－以2000－2010臺灣攝影複合媒材作品為例

臺灣在1960年代起，因受到西方複合媒材創作精神的影響，各種傳統媒材，開始有了對話、共構的機會，而藝術家也開始實驗將日常中的物件置入作品中，跨越藝術與現實的界線。此種以觀念為主導的藝術表現，也在當時臺灣的攝影創作中發酵。直到90年代，以物質結合攝影影像所進行的複合媒材藝術創作，雖然數量不多，卻在臺灣藝術發展中，具有一定的重要性與代表性。而觀察這些作品，似乎除了展現出有別於西方複合媒材形式的強烈風格之外；在內容上亦不約而同地關注起臺灣各種在地的文化題材。本研究發現2000－2010年的這類創作，都巧合地聚焦於對臺灣地方情感更強烈且更特殊的表述。這是否因為此種以攝影結合媒材的創作形態具有其特殊的影像涵構，且擅於表徵出藝術家的「地方感」（sense of place）。因此，本研究企圖透過關於物質、文化、藝術等相關理論之探索，以及臺灣攝影脈絡與取樣作品的分析，挖掘出臺灣攝影以複合媒材形態進行創作的思維特質，希望藉此釐清它對臺灣地方感的表徵意涵。

關鍵字

複合媒材；影像再現；文化表徵；地方感

並列摘要

Due to the influence of the western art ideology in mixed media on spirit and form, Taiwan also started to develop these types of ideas in the 1960s; through traditional media, there were communicative opportunities and chances of creating art together, and artists began to incorporate common objects into their works and crossed the border between art and reality. It was until the 1990s, mixed media, which combined matter and photography, was becoming widely popular. With a small quantity, yet it played an important representative role in the development of Taiwanese art. Looking at these pieces closely, we can recognize the strong, different style from the typical western ideology of mixed art as well as the unique local cultural themes. This study concludes that artworks from the decade between 2000 and 2010 coincidentally show the local sentiment for Taiwan. Is it because this form of art expression can easily convey feelings through its structure and can show the artists' ＂sense of place＂ ? Therefore, with the attempt to discover relevant theories of matter, culture, and art and analyze Taiwanese photography samples, this study investigates more about the unique ideology of mixed media in Taiwan to understand the presentation of the sense of place.