質：身體感：繪畫－宇書儀創作論述
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2020
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Abstract
由無以名狀的感受起始至再現與理解的思尋，透露著現今結構體系與規範系統外，隱含著無法被現實涵蓋及表述的真實。如何將超載的真實顯露於現存的理解，並加以由繪畫本身的語彙去重塑一種繪畫的表述體系，讓感受與「質」建構在抽離表象的已知、與非我主觀的未知之間，試圖通往體現真實的途徑為本文研究之核心。
首先，本文將從「繪畫」與「身體」展開表述路徑的探究，從兩種路徑的異同，標示出它們於再現上知覺實踐的體現方式，透過對其體現的理解，逐步推敲出一種關於身體感所轉化的知覺操作。其次，進一步於自身的創作實踐反觀，對應著繪畫所再現的語彙是否具備某些共建的知覺項目，並依循一定的常項與常量所組織而成的表述空間，讓感受與「質」的體現能從中釋出真實的再現。其三，透過自身創作的體現，以類比三者：質、身體感、繪畫在實踐體證上，憑藉多者中介的過渡操作，以雜染的相異之處堆砌出紛殊多樣的本質，讓任何介入其空間的想像，能指向那個想像自身原真的模樣，由此成立一個知識經驗架構外，更為無限廣闊且恆持的真實。
This thesis attempts to clarify a path to the representation of the truth. Starting with indefinable feelings and anonymous sensations, then thoughts on representation and comprehension, the author try to emerge the truth beyond structures and norms of the world today, which cannot be contained and expressed in reality. How to reveal the overloaded truth to the living understanding? How to reconstruct a representation system of painting using its own vocabulary? In order to base the “Qualia”on and amid the known away from appearance and the unknown close to nonsubjectivity. To begin with, the thesis inquires into two paths of expression through the comparison between painting and body, marking how they embody the practical perception. By understanding the embodiment, gradually the thesis narrates a perceptual operation transformed from sensory perception. Considering this concept into practice through author’s art work, the corresponding vocabulary represented by painting can be emerged, and has some co-constructed perception categories. The painting itself constantly follows certain categories to build up a space for expression, and liberate the representation of the truth. Ultimately, it is an analogy draws between “Qualia”, “sensory perception” and “painting” through the understanding of practical posture, thus it can packing the truth with the aid of differences in-between the period of transition. The imagination of entering the space points to the original appearance of oneself. From the chaos of diversity and variation, the truth can long endure and see its authenticity.
This thesis attempts to clarify a path to the representation of the truth. Starting with indefinable feelings and anonymous sensations, then thoughts on representation and comprehension, the author try to emerge the truth beyond structures and norms of the world today, which cannot be contained and expressed in reality. How to reveal the overloaded truth to the living understanding? How to reconstruct a representation system of painting using its own vocabulary? In order to base the “Qualia”on and amid the known away from appearance and the unknown close to nonsubjectivity. To begin with, the thesis inquires into two paths of expression through the comparison between painting and body, marking how they embody the practical perception. By understanding the embodiment, gradually the thesis narrates a perceptual operation transformed from sensory perception. Considering this concept into practice through author’s art work, the corresponding vocabulary represented by painting can be emerged, and has some co-constructed perception categories. The painting itself constantly follows certain categories to build up a space for expression, and liberate the representation of the truth. Ultimately, it is an analogy draws between “Qualia”, “sensory perception” and “painting” through the understanding of practical posture, thus it can packing the truth with the aid of differences in-between the period of transition. The imagination of entering the space points to the original appearance of oneself. From the chaos of diversity and variation, the truth can long endure and see its authenticity.
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Keywords
質, 身體感, 繪畫, 感受, 體現, Qualia, Sensory Perception, Painting, Sensation, Embodiment