朦朧．隱蔽－吳惠淳水墨創作中的漂流心象

Abstract

本文為筆者在移動與遷移的離散狀態之下，回溯自身生命歷程，對自我存在路徑的探索與思考，其中包含了空間移轉中的自我跨界、離散狀態下的認同歸屬、無限綿延與回返的記憶⋯⋯等，筆者透過理論論述及水墨創作研究去回應上述議題，利用水墨媒材本身氤氳迷濛之特性，複合其他媒材，如：膠彩、箔、蕾絲布料、拓印⋯⋯等等，企圖藉由朦朧與模糊的敞開性去開拓個人在創作上的視覺語彙，並在此隱蔽與自由的空間裡重構出有別於現實的平行宇宙與心象，也作為個人生命軌跡之紀錄與梳理。第一章為緒論，敘述筆者創作的動機與目的，並簡述創作方法論以及創作範圍與其限制，最後輔以本文中較為關鍵和重要的名詞釋義；第二章以「離散」作為切入點，探討人面臨離散時的生存境遇，綜合時間與空間因素，論述離散個體徘徊於中心與邊緣之間，藉由記憶的時間性與反記憶特質重新返回過去，並在時間的綿延之中達到空間上的自我跨界與重構自身藝術場；第三章連結「離散」與「朦朧．隱蔽」之關係，敘述一個從外到內的轉向過程，藉由「朦朧．隱蔽」語境中的象徵及隱喻呈現自身內在的抽象情感，最後梳理此種「朦朧．隱蔽」中內含的虛境審美；第四章為統合「離散」與「朦朧．隱蔽」而得出的創作思維與創作模式，由筆者自身「出走與返家的遊牧經驗」為開端，到過程中意識之「零碎與片段的意象堆砌」，最後刻畫出自身「模糊而隱微的生命軌跡」去對應筆者以水墨形式與技法去塑造「朦朧、模糊」的創作模式；第五章為創作實踐與代表作品解析；第六章為結論。In this paper, under the discrete state of movement and migration, the author traces his own life course, explores and thinks about the path of self-existence. It contains the consciousness and memory of self-crossover in space transfer, the swing of identity attribution in discrete state, and infinite stretch and return. I respond to the above issues through theoretical discussion and ink creation research. I use the characteristics of ink media itself to compound other media, such as : color, foil, lace cloth, rubbing and so on, trying to develop the visual vocabulary of individuals in creation by means of obscurity and ambiguity. And in this hidden and free space to reconstruct a different from the reality of the parallel universe and inner iamages, but also as a record of individual life trajectory and comb.The first chapter is the introduction, which describes the motivation and purpose of the author' s creation, and briefly describes the creation methodology and scope of creation and its limitations. Finally, supplemented by the key and important noun interpretation in this paper. The second chapter takes " discreteness " as the starting point, discusses the living situation of people when they are faced with discreteness, synthesizes time and space factors, and discusses that discrete individuals linger between the center and the edge, return to the past through the timeliness of memory and the characteristics of anti-memory, and achieve self-crossing in space and reconstruct their own art field in the duration of time. Chapter three links" discreteness " and " obscurity. " The relationship of " concealment " describes a turning process from outside to inside, by " obscurity. " Symbols and metaphors in the hidden context present their own internal abstract emotions, and finally sort out this “ obscurity ”. The Aesthetics of Virtual Situation in Hidden. The fourth chapter is the integration of “ dispersion ” and “ obscurity ”. The creative thinking and creative mode derived from concealment starts from the author ’ s own nomadic experience of leaving and returning home, and then goes to the “ fragmentary and fragmentary image stacking ” of consciousness in the process. Finally, the author depicts his “ vague and subtle life trajectory ” to correspond to the author ’ s “ obscure and vague ” creative mode created by ink forms and techniques. Chapter Five Analysis of Creative Practice and Representative Works. The sixth chapter is the conclusion.