具象與抽象的交織 洪紹哲「寫實的邊界」繪畫創作研究
No Thumbnail Available
Date
2015
Authors
Journal Title
Journal ISSN
Volume Title
Publisher
Abstract
寫實繪畫在藝術史的脈絡中發展至今，各式樣貌的表現形式似乎已到達了臨界點。在1839年左右攝影的發明改變了觀看自然的方式，後續宣稱繪畫已死的反動，接著數位科技介入藝術創作，又是繪畫脈絡另一個階段的分嶺，更加速了創作者將意象或幻覺視覺化的思考過程。在這龐大的圖像建構系統當中，繪畫也經過不斷的質疑、重整，提出不同的藝術思維，在其不同的論述支撐架構下，開拓了各種的可能，漸漸的繪畫的表現形式也更自由了。
此創作研究命題為《寫實的邊界》，旨在探討現今多元繪畫的時代裡被歸類為傳統形式表現—寫實繪畫的可能性發展。以寫實與抽象間的連結與距離為創作核心。闡述形像在寫實繪畫範疇中對真實的不確定感，對於形象產生辨識的模糊性與形像曖昧、朦朧美的視覺體驗，探究觀看時的具像成形概念與腦內形象抽象化的運作機制。最後如何在這真實形像與視覺感知模擬的表現領域裡透過觀念與媒材反應於創作。
在創作實踐的表現題材上，以人物為系列發展開始，畫面構成也逐步嘗試融入不同的元素，透過材質的並置，內容的拼貼，媒材的混搭，冀在寫實繪畫的範疇中建構出不同的視覺模組。
In the long history of art, the forms of realistic painting seem to reach a critical point now. The invention of photography around 1839 had changed the way of seeing the nature. Then “Painting Is Dead” had been declared, and the digital technology had stepped into art. They created another watershed of “painting”. It was a procedure of acceleration for an artist to visualize his or her mind and thought, too. In this gigantic system of graphical construction, the painting has been keeping queried, adjusted, and reconstructed. With the support of time and aesthetic theories, the territories and the forms of painting are becoming expanded and freer. This series are named as “Margins of Realistic Painting”. I want to discuss the painting, which is defined as a traditional type of art, in this era of multi-media, and its possible future development. I focused on the linkages and distances between realistic and abstract paintings. I elaborated the “uncertainties toward reality” in the category of realistic painting to define the real and unreal. And I researched the ambiguities of images, vague visual experiences and the mechanism of how abstract images come out into realistic ones while seeing and viewing. Finally I applied my results of researches of real images and simulations of visions onto my series of works. I started this series of works from portraits of people, and then I melted other elements into my works. In the categories of painting, I wanted to build up different visual modules by ways of juxtaposition of materials and collage of themes. Tags/Keywords：realistic paintings, representation, vague.
In the long history of art, the forms of realistic painting seem to reach a critical point now. The invention of photography around 1839 had changed the way of seeing the nature. Then “Painting Is Dead” had been declared, and the digital technology had stepped into art. They created another watershed of “painting”. It was a procedure of acceleration for an artist to visualize his or her mind and thought, too. In this gigantic system of graphical construction, the painting has been keeping queried, adjusted, and reconstructed. With the support of time and aesthetic theories, the territories and the forms of painting are becoming expanded and freer. This series are named as “Margins of Realistic Painting”. I want to discuss the painting, which is defined as a traditional type of art, in this era of multi-media, and its possible future development. I focused on the linkages and distances between realistic and abstract paintings. I elaborated the “uncertainties toward reality” in the category of realistic painting to define the real and unreal. And I researched the ambiguities of images, vague visual experiences and the mechanism of how abstract images come out into realistic ones while seeing and viewing. Finally I applied my results of researches of real images and simulations of visions onto my series of works. I started this series of works from portraits of people, and then I melted other elements into my works. In the categories of painting, I wanted to build up different visual modules by ways of juxtaposition of materials and collage of themes. Tags/Keywords：realistic paintings, representation, vague.
Description
Keywords
寫實, 再現, 模糊, realistic paintings, representation, vague