Some images has been designed using resources from Unsplash & Pixabay & Pexels & Freepik and some icons from Flaticon
Taipei National University of the Arts
Institutional Repository

失語情境:多重圖像的對峙

圖書資料類型:
學位論文(學生)
系統編號:
269
題名:
失語情境:多重圖像的對峙
其他題名:
The face-off after the cascading images in aphasic scenario
作者
資料典藏形式:
電子實體皆有
SFX:
SFX學位論文(學生)測試8888
DOI:
DOI學位論文(學生)測試8888
關鍵詞:
記憶 、 拼貼 、 日常場景 、 矛盾對峙 、 失語
英文關鍵詞:
memories 、 collage 、 daily scene 、 antithesis 、 aphasic
摘要:

情境的觸發,從影像紀錄對立螢幕截圖這兩項對於日常的觀察著手,他們延續成 為我創作的養分,連結童年時期至今的經驗,因為想說得太過龐雜,致使經驗的片段 被描述的散落一地,陷入傳達意義模糊的失語狀態,這些片段被一一拾起,我通稱為 「情境」,情境能夠意旨現實發生的當下經驗,也是經驗後的自省過程,這些情境各自通往一道道得以窺視或解讀我創作的線索,可視為創作動機與背景。

多重圖像自學畫經歷開始,並針對大學時期至系列作的作品發展、創作相關之方法論做描述,對應個別的作品梳理及呈現樣貌,接續至後面的第三至第六篇——系列作 House of Cards 以拼貼形式黏合多圖影像的主要創作系列;組件的場景作為語句的分裂同時又強調相互呼應而產生的新敘事;第五篇文本的挪用,重新再造電影片段的影像與於我而言的象徵意義,為了圖像敘事而補述,或為了驗證而重複;第六篇靜物是場景的一角,即是全觀中的局部或碎片,在關注物的記錄下延伸成繪畫,同時成為對記憶的持續偏移。

最後一篇對峙或重回失語,擷取了過去的記事,並討論作品完成的狀態,對自我的意義。

英文摘要:

As a chapter of situational triggering, I started from daily observation such as image recording and screenshotting. They went on as part of my artistic style, linking my child experience with the present. But as what I wanted to tell was overly complex, memory parts were largely scattered, turning myself into an almost aphasia condition. When those scattered are picked up one by one, I would call it a “scenario”. Scenario can make clear an experience existed in present reality in the meantime it serves as an introspection after experiences. All the scenarios lead to various peekings or clues to interpret my art, and can also be the motivation behind those arts.

The past of learning experience open up the second chapter, my works mainly consist of multiple images, ranging from my college work, series of projects, to the methodology of creating. Keep following to the rest of categories, one is mainly collage and multiple-image pasting. Another sees two or several pieces of art as one, representing splits of speeches but all the while focusing on how two pieces echo with each other, creating new narratives. The next one is about misappropriation of movie scenes and what they symbolize; how they supplement image-driven narratives or repeat verifications for rebuilding. Last one shows the still-life, as a corner of the scene. Fragments of the whole view become into pieces of painting, telling under those material of records, memories are constantly drifting and offset in the same time.

The last chapter collect the past and written notes, focusing on the completion of the art piece and what it means to me.

頁數:
83頁
備註:
我是備註說明
授權公開範圍:
限校內網域公開
語言:
中文
得獎紀錄
引用參考:
失語情境:多重圖像的對峙。取自《典藏北藝》: http://203.64.5.39/detail/c55ddb8e4ba6f0ae2531371696119d36/ (檢索日期: 2025/02/05)