景框與風景－吳乃慧創作論述

Abstract

本創作研究圍繞「與風景相關之藝術創作」及「作品之觀看方式」兩條軸線，試圖探索藝術創作者如何藉由獨特的藝術語彙，描繪人們對於周遭環境的感知與認識，並且經由風景相關之藝術創作，探究不同藝術作品間，在空間再現方式上的異同，包涵了縱向的藝術史脈絡以及橫向同時期藝術家作品間的差異。 隨科技演進，與風景相關之藝術創作，再現空間不再是只單純專注於描繪眼前所見的景物，更多的是針對視覺在空間裡作用以至將之呈現於平面上的這個過程，以此過程做為作品討論之對象。再現方法的演變，使得傳統繪畫中慣用的透視法遭到拆解，觀看者、對象物、畫布三者間的相互關係趨向多元，對於感知的描繪，在不同的藝術作品中存在著諸多不同的路徑。 筆者亦藉由創作研究，提出個人貫穿本系列創作的核心元素——「景框」，更進一步討論到後設劇場中的「劇中劇」表現形式，即經由釐清自身的觀看方式並對其進行反思，以了解到自己對於周遭環境的認識一如人們在當代接收與傳遞訊息的模式，均帶有虛擬的性質。 繪畫能將立體的空間體驗轉化為平面呈現，憑藉的便是人類的想像能力，同時，繪畫的自由性也記錄了在生活中難以言說的視覺感受。筆者盼藉由創作，發覺觀看的複雜性，以更加開放的態度去體驗及認識所見所感，並發展具個人特色的創作語彙。

關鍵詞：風景、景框、觀看、再現、劇中劇

This study centers on "Landscape-related Art Works " and "Seeing Methods for Art Work" and attempts to explore how artists use unique art vocabulary to describe people's perception and recognition of their surroundings. It uses landscape art creations to explore the similarities and differences in spatial reconstruction in different works, including longitudinal art history and the similarities and differences in contemporary artists. With the advent of technology, in landscape art creations, spatial reproduction is no longer a method for simply portraying the scenery before one's eyes. Rather, it is the process by which vision acts in space and is presented on a flat plane. This process is the object of discussion for the works. The development of spatial reconstruction makes the perspective method of traditional drawings crumble. The mutual relationship between the viewer, the target, and the canvas has trended toward plurality. As for the depiction of perception, there are a good deal of different paths amongst different art creations. Authors also use creative studies to put forth the individual core elements of "proscenium" that penetrate this series of creations. The corresponding "play within a play" presentation form uses the self-clarification seeing method and reflection to understand one's recognition of their own surroundings. They all have a virtual nature, in the same way that people now receive and transmit messages. Painting can transform a three-dimensional space onto a flat plane and is dependent on people's imaginative abilities. At the same time, the freedom of painting also records unspeakable visual feelings. Authors use their works to discover the complexity of seeing, using an even more open attitude to experience and recognize the things that we see and feel, while developing creative a vocabulary with individual characteristics.

Keywords: landscape, proscenium, gaze, representation, play within a play