臺灣博碩士論文加值系統

　　本創作研究以「空缺、填補與流動」為題，統整自身於2010至2018年的雕塑創作觀。在開始進入雕塑創作以前，這契機主要是受到服裝體系的啟發，包含服飾造型和其總體美學的思考。進入雕塑創作領域後，才透過觀念的擴展和布料的物料探索，並結合藝術、社會與服裝領域間題材的變化，來運用到對立體創作表現的思考；近期，則開始考量服裝、雕塑與自身之間相互代表的意義。其中涵蓋個人最初與服裝、與材料連結的起點以及家庭關係面向的討論，並以此論文相互交織和縫合。
　　命題的思維，同時源自雕塑也源自服裝，該兩者一直是筆者作品概念的陳述以及想法推進的動力。文章將以分析服裝的物件結構與功能作為討論的核心，並分別藉著雕塑媒材與空間的觀念去解構和構成創作。首先，是討論物件空間客觀的狀態，透過衣物翻轉內空間與外空間的用途，討論空間層次性的包覆與堆疊性的創造；其次，是以服裝為元素的對話出發。論服裝並非只是服裝物件的概念，其還有回應個人和整體社會之用途，也是作為筆者在創作各項對物質、身體和文化系統的討論。
　　最後，內容將帶到時間的討論，在於回到材質本質的柔軟作為主軸。文中將分別以各種由內而外的時間交錯，討論作品處在各種不同的時間軸線上而將達成的各種對於材料想像以及形式想像的各種可能。

In this research, the author takes "Empty, Filling and Flowing" as a theme to reconcile his own concept of sculpture creation from 2010 to 2018. Before beginning to enter the sculpture creation, this turning point was mainly inspired by the clothing system, including clothing styling and its overall aesthetics. Into the field of sculpture creation, only through the concept of expansion and material exploration of cloth, combined with the changes in the arts, society and clothing changes in the field, to the use of the three-dimensional creation of performance thinking; recently, began to consider clothing, sculpture and their own The meaning of mutual representation. It covers the initial discussions with individuals about clothing, the starting point for material linkages, and the family-oriented relationship, and is thus intertwined and stitched together.
Propositional thinking, but also derived from the sculpture is also a garment, both of which have been the author's work concept statement and motivation to promote ideas. The article will analyze the structure and function of clothing objects as the core of the discussion, and through the concept of sculpture media and space to deconstruct and constitute the creation. First, it discusses the objective state of object space, discusses the creation of space-level coating and stacking through the inside space and outside space of the garment flip, and secondly, the clothing-based dialogue. Clothing is not just a concept of clothing objects; it also responds to the individual and the society. It is also the author's discussion of the material, physical and cultural systems.
Finally, the content will be brought to the discussion of time, back to the soft nature of the material as the main axis. The text will be staggered with various times from the inside to the outside, discussing the various possibilities of material imagination and form imagination to be reached on different time axes.

摘要 ……………………………………………………………………………………I
Abstract ………………………………………………………………………II
目錄 …………………………………………………………………………………III
緒論 ……………………………………………………………………………………1
第一章、空間之形 ………………………………………………………3
第一節　　空間生產 …………………………………………………5
第二節　　穿越內外 ………………………………………………10
第二章、身體基點 ……………………………………………………14
第一節　　身體形象的存在 …………………………………16
第二節　　身體形象的交換 …………………………………21
第三章、回到材質 ……………………………………………………26
第一節　　脆弱是它的本質 …………………………………28
第二節　　時間裡看待變化 …………………………………29
結論　人其實都是在找容身之處 ………………………30
參考文獻 ………………………………………………………………………31
附錄 …………………………………………………………………………………32

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Jean Baudrillard，林志明譯，《物體系》，台北：時報出版，1998。
Peter Adey，徐苔玲、王志弘譯，《移動》，台北：群學出版，2015。
Roland Barthes，敖君譯，《流行體系》，上海：上海人民出版社，2011。
Tim, Dant，鞏永惠譯，《物質文化》，台北：書林出版，2009。
汪民安主編，《文化研究關鍵詞》，台北：麥田出版，2013。