| 题名 |
幾近零的溫冷 ─ 純粹的想像 |
| 并列篇名 |
Between Chill and Warmth, the Temperature of Void—Pure Imagination |
| 作者 |
黃莛㭹 |
| 关键词 |
視觸 ； 低限 ； 現象學 ； Haptics ； Minimalism ； Phenomenology |
| 期刊名称 |
國立臺北藝術大學美術學系碩士班創作組學位論文 |
| 卷期/出版年月 |
2016年 |
| 学位类别 |
碩士 |
| 导师 |
蔡懷國 |
| 内容语文 |
繁體中文 |
| 中文摘要 |
觸覺，⼀個我無法分離的深切感知能⼒。它使作品與我⾃身的身體感有強⽽緊密聯繫的切身關係。視覺，透過我的眼睛，觀察對事物的感受所衍⽣的抽象思考，收集光線及⽣活經驗帶給我的豐富創造⼒，所以對我來說觸覺的⽣成與視覺感知能⼒亦是密不可分的。⾃進修階段以來，我去思索陶瓷的特殊性。便開始對於陶瓷媒材的特殊本質進⾏摸索以及探討，透過觸覺對⽩⼟的型塑產⽣對女性肌膚的想望。過程中我嘗試緩慢的型塑物件並以撫摸的姿態完成且達到快感的滿⾜。物件本身對我來說就像潔淨的女體，過程中她如此的脆弱但又如此親近然⽽作品完成後卻產⽣了距離。 本論述共分五個章節 第⼀章 回溯：簡單說明對於女體的迷戀、追求、寄託如何誘發我的創作，過程中又如何將性感、情慾透過材質訓練階段的摸索內化成創作上表現材料質地的⽅式。 第⼆章 視觸：透過現象學來分析雕塑創作中，我與作品之間抽象的形成與對話關係，對於陶材質的感受、知覺且直覺的接觸來傳達我與作品之間既有距離且親近的曖昧關係。藉以說明純粹的內在本質與觸覺優先性之間的拉扯。 第三章 純粹的想像：此章節是關於我陶瓷創作以來雕塑造型取材的思考及表 現，並說明雕塑形式上從⼀開始微型化的器⽫物件展現到理解低限主義及幾何抽象表現對我作品的影響，並透過雕塑、空間與光之間的關係使我重塑出⼀種對於純粹的想像與創造。 第四章 獲得靈性的可能：述說我對⽇常事物的觀察，旅⾏中對創作產⽣的某種對於詩性空間的感受以及無意識美的關聯與影響，近⽽對於⽣活中的種種事物提升更敏銳的感受且啟發⾯對藝術的創造⼒。 第五章 物與無形的轉化：透過分析莫朗迪、板橋廣美、布朗庫西的作品及觀念來對應我各個階段作品的形式、主題、內容之間的關係與影響。 |
| 英文摘要 |
Touch, a deep sense of awareness which I can't pinpoint. Making it so that my works have a strongly intertwining and intimate relationship with my sense of self. Vision, through my eyes, the abstract thinking resulting from observations of things which occur, collecting rays of light and life experiences to bolster and enrich my creative capabilities. Therefore, in my opinion, the provocation of touch and generation of visual perception are inseparable. After continuing my studies, I began to ponder upon the uniqueness of ceramics. I began to experiment with and explore the special nature of the ceramic medium. Through the shaping of clay, touch is used to create a desire for the female skin. During this process, I sought to slowly shape these objects and create a stimulating effect through a caressing motion. To me, the object itself is like the pure body of a women, who is in the process so fragile yet so intimate; nevertheless, there is a widened sense of distance after the completion of the work. This paper is organized into six chapters : Chapter 1 - Retracing : Provides a brief description of how my fascination with, as well as the pursuit and entrusting of myself in the female body sparked my creativity while also describing how I was able to manifest sexiness and lust in the texture of the material through my explorations during the materials training phase. Chapter 2 - Haptics : Discusses the use of phenomenology to analyze the abstract relationship and dialogue resulting between me and my sculptures during the creation process. Using my feelings toward the ceramic material, as well as perception and intuition to convey the closely intimate yet distanced affair-like relationship between me and my works. Thereby demonstrating the tension between the pure inner nature and sensory first convention. Chapter 3 - Pure Imagination : This chapter introduces my thoughts and performance in regards to my use of sculptures as the material for my ceramic works, while also elaborating on the influence of each aspect from how the miniature containers and utensil at the beginning were presented to the understanding of minimalism and the representation of geometric abstract on my work. Then also describes how the relationship between sculpting, space, and light, caused me to reshape a type of purer imagination and creativity. Chapter 4 - Possibilty of Obtaining Spirituality : Describe my everyday observations, the influences of the connection between poetic wisdom, sensations and subconscious aesthetics on my creations during my travels, then inspiring artistic creativity through a heightened sensitivity to things surrounding me in my everyday life. Chapter 5 - Artists Referenced : By analyzing the works and concepts of Morandi, Hiromi Itabashi, and Brancuși to correspond with the relationships and influences between each phase of my work in regards to form, subject and content. |
| 主题分类 |
人文學 >
藝術 美術學院學術論文 > 美術學系碩士班創作組 |
| 参考文献 |
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