筆者對於「壓抑」這個主題感到興趣，或許是來自於個人成長過程中的經驗。由於父母親皆從事教職工作，因此，無論在家庭或學校，在父母與師長教條式約束規範下，筆者被他們形塑成心目中理想的好孩子形象，但這並非是自己的本性。但是，也因此造就了筆者往後人格發展的矛盾性，在內在自我深層探索的過程中，筆者發現壓抑普遍地存在於日常生活中，因為世界上的每一個人都是「慾望的載體」。當某種需要得不到滿足，而這種需要十分強烈卻又無可奈何時，壓抑之感便油然而生；或是當社會制式化規範與自己的願望與追求相背離時，就會感到受束縛、受壓制，但是卻不能為所欲為，此時也會產生壓抑感。壓抑約束了真正自我的表露，而將之囚禁在內心深處的牢籠之中。

關於本文研究，筆者將試圖從學理論述的探索中，研究壓抑與慾望的關係，剖析壓抑意念產生來源與所衍生之相關議題。進而，探討壓抑時的身理狀態與內心思維，從創作中找尋自我，重新認識自我。並以此建立創作思想脈絡，導引藝術創作方向。

本文共分為四章，第一章 緒論：說明本文的研究動機與目的、研究內容與方法，並將關鍵詞加以定義。第二章 學理基礎：敘述藝術創作的心理根源，並試圖從心理學的角度去探討壓抑的成因與狀態，以及錄像藝術的發展概況與對筆者的觀念啟蒙與影響。第三章 創作理念與作品說明分析：在個人創作方面，採用錄像為作品的主要表現形式；運用後製影像、圖像符號來詮釋自我潛意識和情緒現象。依其論述重點，又將創作主要歸納為三個部分：分別是「原欲」、「抑鬱」、「超脫」等系列作品。藉由影像觀照自我與眾生，從演繹中展現思維，期望藉以滌除煩惱，走向清靜解脫、自我昇華為終極目的。第四章 結論：筆者提出在此創作過程中的感想與收穫，並確定日後持續創作的方向。

關鍵詞：壓抑、慾望、趨避衝突

The reason why I am interested in the topic of “oppression” might come from my personal experiences during my development process. Because my parents are both teachers, under the doctrine type of restraint standard from parents and teachers I was molded into their ideal good kid. However, this is not my nature. All these impacts resulted in the conflicts in my future personality development. During the self-exploring process, I found that oppression commonly exists in daily life because each person in this world is a “carrier of desire”. When a certain desire is not satisfied, especially such desire is very strong but has no way out, the feeling of oppression comes. When a person’s desires and pursues deviate from the social norm, he/she will feel constrained and suppressed without being able to do whatever he/she wants. In such condition, oppression is brought out. Oppression constrains the expression of true self, thus the true ego is imprisoned in the deep mind.

In this research, I will theoretically discuss the relationship between oppression and desire, and analyze the sources of oppression and related issues coming from oppression. Furthermore, I will discuss the physical conditions and inside thoughts when oppression happens, and how to explore and know self again from the creation. This path of creation thoughts led the direction to my art creation.

There are four chapters in this thesis. The first chapter, Introduction, describes the research motivation, objectives, content, methodology and definition of keywords. The second chapter, Base of theory, discusses the sources of oppression and the oppression conditions from the psychological perspective, and the development of video art which enlightens my thoughts. The third chapter, Creation idea and work description, describes the way to express the art work. Videotaping is the major expression, which I explains the self-subconsciousness and emotions using video editing and graphic symbols. Based on different description points of view, the art works were summarized into three parts, which are “Original desire”, “Thought”, and “Unconventional.” By the video reflection of myself and other people, I express my thoughts and hope to clear vexation, toward to the peaceful mind and self-sublimation. The fourth chapter, Conclusion, presents what I had thought and learned during the process of creation, and identifies the future direction of creation.

Keywords: Repression, Desire,Approach-Avoidance Conflict.

一、中文書目
佛洛伊德著，林克明譯，〈日常生活的心理分析〉，台北市，志文，1980。
張春興著，〈心理學概要〉，台北市，東華書局，2004。
崔麗娟等著，〈心理學是什麼〉，台北市，揚智文化，2002。
Marcuse．H著，黃勇和薛民合譯，〈愛欲與文明：對佛洛伊德思想的哲學探討〉，上海譯文出版， 2008。
Gillian Rose著，王國強譯，〈視覺研究導論：影像的思考〉，台北市，群學，2006。
葉謹睿著〈數位藝術慨論〉，台北市，藝術家，2005。
李美蓉著〈視覺藝術慨論〉，台北市，雄師圖書，2003。
姚瑞中著〈台灣裝置藝術〉，台北縣，木馬文化，2004。

二、期刊
蘇守正，〈淺談錄影藝術〉，《藝術家》，1994、235。
陳永賢，〈錄像藝術的發展歷程〉，《藝術欣賞》，2005，第一卷、第一期。
張心龍，〈第二代的錄影藝術〉，《雄師美術》，1987、301。

三、論文
莫其霖，〈存在與再現之間〉，國立新竹教育大學，2005。
吳承宗，〈情緒的場域：回憶與記錄〉，國立新竹教育大學，2009。