物質的記憶—金澤豪繪畫創作研究

Abstract

本論文內容為筆者系列作品之創作，作品以「擬像」為圖像基礎，以捏造、仿製復古「相片」的外觀為主要手法。製作的條件區分了圖像、顏料物質、工作痕跡三個面向。 圖像內容是關於原始自然與神話寓言，藉動物形象（影像）作為與自然有關的象徵，經過蒙太奇式的拼貼與再造，擬仿沒有指涉目標、非再現的「相片」，藉此召喚出被遺忘的知覺與經驗，一種關於人類的集體記憶。 顏料的物質性是唯物論的觀察下產生的意識，因此在作品中，圖像與物質產生了辯證關係，實體也成為可感受的客觀存在，顏料的厚度、質料呼應了真實的畫框與牆面，因此畫作的物質性經驗延展至觀看者的環境中。 筆者藉由作品實踐中對於材料的作用與意圖，企圖擴充作品的內涵，讓畫框的「形變」進入傳統的繪畫主體中，尋求圖像、顏料物質與工作痕跡交互作用的感覺與記憶，突顯並置於畫面主體中呈現出的多元性，消解作品原本單一的形式與組織，勾勒出作品的「生命自由」，透過行動將力量與生命引入於材料中，在繪畫元素彼此連結、互滲間，得以標示出在當下時空中的原初感受與真實想像。The content of this thesis is focused on the author’s “Simulation of Old Photos” series, which is based on the reproduction of photographs. The main concept of the art works is “simulation”, to simulate the appearance of old photos. The making of the works has three aspects: image, material usage, and the marks of working. The image is about the relationship between original nature and mythological tales. By using collage technique to recreate a ‘photo’ that has no implying target, author attempts to depict the forgotten memory. In this series of art work, the handling of pigments also created the conversational experience between the image and material to the viewers. The actual art works include the thickness of pigment, the picture frame and the wall surface, thus, the viewers can experience a dialogue back and forth from the material of the paints to the space where the painting are placed. The author attempts to expand the implication of the works through the effects and intentions of material usage when creating. By including picture frames into traditional painting itself, and the interaction of images, pigment material and work indications, the dullness of painting form is eliminated. The painting elements from these art works represented the diversity of culture and introduced the power of humanity to the viewers. The author tried to reconnect the original sensitivity of the images with current time and space.