千分之一風景 - 顏群繪畫創作研究

Abstract

在漫漫時日底下的千分之一時段裡，存有著對象物的一部分，而凝視片段的它，可藉其上的氣味、紋理或壓痕等……來追回已逝的所有樣貌。因此片段亦包容了整體，而所有的過去、當下甚或是未來，都不再是單一的。千分之一風景，是透過微觀日常中的各種對象物去放大審視其上的痕跡，並以此為線索，進一步推測其中曾經的樣態及形變的成因，自微小的景觀裡淬煉出宏觀的意象。「推想」使時間開始流動，而事件得以延伸，在有意識、無意識和直覺、非直覺的錯置之間，交織出可能的知覺景觀。

本論文首先探討作品中所蘊藏的不可視之內涵，包括物與人之間的關係、審美經驗中的移情現象，以及具有敘事性的痕跡，接著於第三章回歸探究繪畫上可見的視覺形式、手法等論題，包括觀看的尺度、擬像和後現代主義之於藝術的各種交互關係、聯畫的發展進程和轉變等。筆者以各式的皺摺肌理以及物品的殘溫等特性堆疊出不斷延伸的風景。

In a fleeting moment among a boundless time lies fragments of an object. By gazing into the fragment, the look of the lost can be recollected from its scent, texture, or indentation etc. Hence, a fragment contains the whole, and anything in the past, present, or even the future is no longer an individual. Millesimal scenary magnifies the traces of objects through observing various daily objects in microcosm, and use them as clues to further speculate what it used to be and what caused the transformation. Macroscopic imageries are extracted from microscopic landscapes. “Speculation” starts the flow of time; it thus extends events, and interlaces the misplacements of consciousness, unconsciousness, intuition, and non-intuition to form a possible perceptual landscape.

The thesis first explores the imperceptible connotations buried in the art works, including the relationships between objects and people, the empathy in aesthetics experiences, and the traces of narratives. Next, Chapter 3 goes back to exploring the visual forms and techniques in painting, including the scale of viewing, the various correlations between art and simulation as well as postmodernism, and the development and transformation of panel painting. The author puts up boundless sceneries with characteristics such as assorted wrinkling textures and the residual temperature of items.