哈囉！你好嗎？-「與內在小孩的對畫」

Abstract

此創作論述是針對作者自2011年到2014年這段期間創作作品的相關文字敘述。《哈囉！你好嗎？-與內在小孩的對畫》，以創作為主，論述為輔。作品中藉由描繪兒童頭像探索自身內在的表情、形塑自我形象，並加以文字的梳理，釐清自己的創作脈絡。從中了解潛意識如何影響藝術活動，且試圖以拉岡的鏡像理論來釐清自身與這些兒童頭像之間的關係。整個創作過程如同畫自畫像一般，進行自我探索、自我剖析，確立自我的存在感。 本創作論述的架構為 - 第一章 緒論，除了說明研究動機、研究目的、研究範圍與內容，針對「內在小孩」一詞作名詞解釋。第二章 創作研究之理論基礎將提及潛意識影響作者創作的能量，並以拉岡的鏡像階段理論闡述「自己所認識的自我」與「內在的自我」之間的關係。第三章 創作理念與實踐蒐集了當代藝術家在兒童頭像方面的創作，並說明自己的創作理念。第四章 創作內容、形式、媒材與技法，介紹創作的內容與形式、創作的過程、使用的媒材與表現方法。第五章 作品解析中，整理了兩個系列的兒童頭像進行說明。第六章 結論，綜合創作的心得並提出當前的創作與發展的省思。The thesis “Hello, How Are You? Dialogues between Me and the Inner Children in Me through Painting” presents a study on two series of acrylic paintings created by myself between 2011 and 2014. It is presented in the way of showing not only my art works but also the discourses supporting the concepts of my creation. Through producing these children’s head portraits, I explore “the affect” of myself as a painter and how my self-image is shaped in the process of creation. In addition, I try to understand the relationship between these portraits and me with the help of language: my very own commentaries therefore serve as a further interpretation to clarify the context of my creation, in which the influence of the unconscious on my creation process will be examined in the light of French psychoanalyst Jacques Lacan’s theory of “The Mirror Stage.” For me, the whole process is just like creating one self-portrait after another, I self-explored and self-analyzed—I brought a sense of “self” into being. The framework of this thesis is consisted of six chapters. “Chapter One” is the introduction: it presents the motivation, the purpose, the scope and the contents of this study work, and offers a clear definition of the term “inner children.” “Chapter Two: the Theoretical Foundation” explains how the unconscious influences my creation process by taking Jacques Lacan’s theory on “The Mirror Stage” as the basis to examine the relationship between “the conscious self” and “the unconscious self.” “Chapter Three: My Concepts of Creation& the Practice in the Current Field” introduces various children’s head portraits produced by other contemporary artists, and by which I elaborate the concepts of my own creation. “Chapter Four: the Contents, the Form, the Materials and the Techniques” offers individual description of how these elements are applied to my creation process. “Chapter Five: My Art Works” includes two series of children’s head portraits and my own commentaries. The last, “Chapter Six” concludes the thesis with my personal reflections on these current works as well as my vision of future development.