團塊中色彩與筆觸的內在精神意象-吳虹妮創作論述

Abstract

本論文以筆者2018至2022年的藝術創作為主要對象，創作靈感源自於個人的成長經驗、對重要他人的情感連結，以及觀察家人的拾遺工作，所帶出的內在反思。創作內容關切生命被創造，並描繪個體與群體間的互動關係與狀態，反映社會整體結構，連結到生活在群體中的每個個體相似的內在情感。筆者分析平面繪畫的視覺圖像中出現的團塊構成、色彩安排及筆觸動態間所傳遞出的精神意象，並梳理創作語彙和脈絡。第一章「緒論」，將說明此研究動機、研究方法與研究內容、關鍵字。第二章「物質與表現意象」，談論物質媒材使用與處理，在筆觸厚薄、團塊堆疊、顏色選擇當中，各自內含的自我思想與情感意義，並分析藝術史對於肉體和精神層面，兒時、苦難的生命經驗等命題之相關創作。第三章「當精神超越形體」，透過自身與藝術家作品，藉此分析精神與肉身的概念，以不同的平面繪畫，對照自己的創作，找尋其中相似或差異之處的邏輯和發展樣貌。第四章「作品形式與內容分析」，藉由繪畫表達作者自身作為個體乘載責任與壓力的感受，以及在社會體制下隱藏的框架與階級。肉體作為情感的載體，帶著無形內在壓力與情緒，尋找自我的精神出口。第五章「結論」，回顧本文論述與創作過程並梳理整體脈絡，以未來發展之延伸為總結。This thesis focuses on the author’s artistic creations from 2018 to 2022. The ideas of the artistic creations are in accordance with the author's internal reflections on personal growth, emotional connections with important others and observations of the family’s resources recycling work. The content of creation concerns the creation of life and depicts the interactive relationships and states between individuals and communities, reflecting the overall society and linking to the similar inner emotions of each individual living in the community. Author analyzes the frequent cluster compositions, color usage arrangements and dynamic brush strokes of the graphic painting artform creations to organize the expressed spirit imagery and context of those artistic creations.The first chapter, “Introduction”, demonstrates the motivation, research method, and keywords of the study. The second chapter, “Material and Expressive Imagery”, discusses the using and processing of materials, the self-thoughts and emotional meanings contained in the thickness of brushstrokes, the stacking of blocks, and the selection of colors. This chapter also analyzes related works of art history on the themes of the experiences of childhood and suffering on both physical and spiritual level.The third chapter, “When the Spirit Transcends the Body,” analyzes the concepts of spirit and physical body through personal experiences and other artwork. By comparing different forms of two-dimensional painting with the author’s own creations, the author traces the similarities and differences in the logical and developmental aspects. The fourth chapter, “Analysis of Artistic Form and Content”, expresses the artist’s responsibilities and pressures as a human being and the hidden frameworks and hierarchies within society. The body serves as a carrier of emotions, carrying intangible pressure and emotions, and seeking a spiritual outlet for self-discovery. The fifth chapter, “Conclusion”, reviews and summarizes the overall context of this thesis and creative process, and concludes the thesis with the extension of future development.