臺灣博碩士論文加值系統

本篇論文以「融解的物」為命題，整理出2019年至今的創作脈絡，敘述筆者在研究所中對於藝術創作的改變、思考和自我批判。回顧自身以往創作的狀態，透過物件語彙、材質、空間，來回應到日常生活中所存在的問題意識，在每一次的創作中，對於物件的運用方式也漸漸改變，並在這樣的過程中，轉變過去傳統雕塑對自身創作上的局限。我依照時間順序來完成五個章節，第一章《物的摸索》，在離開大學後開始嘗試以物件做創作，並且在創作的過程中試著讓藝術進入生活空間；第二章《當代藝術與傳統雕塑的思辨》，講述自己來到研究所後面對當代藝術受到的衝擊，並透過自身檢討來審視傳統雕塑與當代藝術的差距；第三章《融解的開始》，伴隨著疫情擾亂生活的情況下，我開始嘗試以塑膠這個材質做創作，並試圖透過融解它來創作雕塑，即便是個實驗的階段，但我仍然在其中有所收穫；第四章《走進五金百貨》，在自己思考許久後，開始以新的思考方式創作作品，延續原先已塑膠作為主題的方向創作，走進了五金行的空間中，在創作的同時思考身體、空間、速度、溫度；第五章《日常序列》，將日常對於購物消費的資訊，透過物的拆解重組，以雕塑的方式回到空間中，思考過剩的消費資訊。

The present thesis takes “The Melted Things” as the proposition, organizes the author’s creative context from 2019 to the present, and describes the author’s changes,
reflections, and self-criticism of artistic creation in the institute. Returning to the self in creation, I use the language of objects, their materiality, and space to relate to everyday problems. Every time I work on a new piece, the way I interact with my objects changes, and through such a process, I transform the limits that the traditions of sculpture have placed on my creative practice. I wrote four chapters in chronological order. In the first chapter, “Exploration of Objects” after leaving university, I began to experiment with using objects as the basis for my creative endeavors. Throughout this creative process, I endeavored to integrate art into everyday living spaces. The second chapter, “Exploring Contemporary Art and Traditional Sculpture”, describes the shock I faced when I learnt about contemporary art in the graduate institute and eventually, through self-examination, began to understand the disparity between traditional sculpture and contemporary art. In the third chapter, “The Beginning of Melting”, Under the disruption caused by the COVID-19 pandemic, I started experimenting with plastic as a material and trying to create sculptures by melting it. Despite being in an experimental phase, I still found it rewarding. The fourth chapter, “Entering the Hardware and Department Store”, After contemplating for a while, I began creating works with a new perspective, continuing the theme of plastic as the main material. I ventured into the space of hardware stores, pondering on the concepts of body, space, speed and temperature while working on my creations. The fifth chapter, " Daily Sequence," aims to reassemble and deconstruct everyday consumer information through the manipulation of objects, returning them to space in sculptural form, and reflecting on the surplus of consumer data.

摘要⋯⋯⋯⋯⋯⋯⋯⋯⋯⋯⋯⋯⋯⋯⋯⋯⋯⋯⋯⋯⋯⋯⋯⋯⋯⋯⋯⋯⋯⋯⋯⋯I
ABSTRACT⋯⋯⋯⋯⋯⋯⋯⋯⋯⋯⋯⋯⋯⋯⋯⋯⋯⋯⋯⋯⋯⋯⋯⋯II
誌謝辭⋯⋯⋯⋯⋯⋯⋯⋯⋯⋯⋯⋯⋯⋯⋯⋯⋯⋯⋯⋯⋯⋯⋯⋯⋯⋯⋯⋯IV
目錄⋯⋯⋯⋯⋯⋯⋯⋯⋯⋯⋯⋯⋯⋯⋯⋯⋯⋯⋯⋯⋯⋯⋯⋯⋯⋯⋯⋯V
圖目錄⋯⋯⋯⋯⋯⋯⋯⋯⋯⋯⋯⋯⋯⋯⋯⋯⋯⋯⋯⋯⋯⋯⋯⋯⋯⋯⋯⋯⋯⋯⋯⋯VI
第一章 物的摸索⋯⋯⋯⋯⋯⋯⋯⋯⋯⋯⋯⋯⋯⋯⋯⋯⋯⋯⋯⋯⋯⋯⋯⋯4
第一節 作品進入生活空間⋯⋯⋯⋯⋯⋯⋯⋯⋯⋯⋯⋯⋯⋯⋯⋯4
第二節 使用與創造⋯⋯⋯⋯⋯⋯⋯⋯⋯⋯⋯⋯⋯⋯⋯⋯⋯⋯⋯⋯⋯⋯⋯⋯7
第二章 當代藝術與傳統雕塑的思辨⋯⋯⋯⋯⋯⋯⋯⋯10
第一節 物件、空間、時間⋯⋯⋯⋯⋯⋯⋯⋯⋯⋯⋯⋯⋯⋯⋯⋯12
第二節 裝置的媒介是空間本身⋯⋯⋯⋯⋯⋯⋯⋯⋯⋯⋯⋯15
第三章 融解的開始⋯⋯⋯⋯⋯⋯⋯⋯⋯⋯⋯⋯⋯⋯⋯⋯⋯⋯⋯⋯17
第一節 塑膠⋯⋯⋯⋯⋯⋯⋯⋯⋯⋯⋯⋯⋯⋯⋯⋯⋯⋯⋯⋯⋯⋯⋯⋯17
第二節 融解⋯⋯⋯⋯⋯⋯⋯⋯⋯⋯⋯⋯⋯⋯⋯⋯⋯⋯⋯⋯⋯⋯⋯⋯20
第四章 走進五金百貨⋯⋯⋯⋯⋯⋯⋯⋯⋯⋯⋯⋯⋯⋯⋯⋯⋯⋯⋯23
第一節 不那麼努力⋯⋯⋯⋯⋯⋯⋯⋯⋯⋯⋯⋯⋯⋯⋯⋯⋯⋯⋯⋯23
第二節 《山水百貨・家庭五金》 ⋯⋯⋯⋯⋯⋯⋯⋯25
第三節 將身體經驗轉換至裝置、空間⋯⋯⋯⋯⋯⋯28
第四節 速度、溫度⋯⋯⋯⋯⋯⋯⋯⋯⋯⋯⋯⋯⋯⋯⋯⋯⋯⋯⋯⋯32
第五章 日常序列⋯⋯⋯⋯⋯⋯⋯⋯⋯⋯⋯⋯⋯⋯⋯⋯⋯⋯⋯⋯⋯⋯⋯⋯35
第一節 恍惚的殘影⋯⋯⋯⋯⋯⋯⋯⋯⋯⋯⋯⋯⋯⋯⋯⋯⋯⋯⋯⋯35
第二節 空間錯置⋯⋯⋯⋯⋯⋯⋯⋯⋯⋯⋯⋯⋯⋯⋯⋯⋯⋯⋯⋯⋯⋯⋯⋯40
第三節 拼接、嫁接⋯⋯⋯⋯⋯⋯⋯⋯⋯⋯⋯⋯⋯⋯⋯⋯⋯⋯⋯⋯⋯⋯⋯⋯42
結論⋯⋯⋯⋯⋯⋯⋯⋯⋯⋯⋯⋯⋯⋯⋯⋯⋯⋯⋯⋯⋯⋯⋯⋯⋯⋯⋯⋯⋯⋯⋯⋯⋯⋯⋯⋯45
參考文獻⋯⋯⋯⋯⋯⋯⋯⋯⋯⋯⋯⋯⋯⋯⋯⋯⋯⋯⋯⋯⋯⋯⋯⋯⋯⋯⋯⋯⋯⋯⋯⋯⋯⋯⋯⋯47

一、中文譯書：

1、羅蘭．巴特（Roland Barthes），《神話學》，許薔薔，許綺玲譯，台北：桂冠，1997

2、波里斯‧葛羅伊斯（Boris Groys），《藝術力》(Art Power)，郭昭蘭、劉文坤譯，藝術家出版社，2015

3、勒內・笛卡兒（Rene Descartes），《沉思錄・我思故我在》，龐景仁譯，新北：野人文化股份有限公司，2021