摘要
城市生活空間之意象─黃輝坪繪畫創作論述
本創作研究是筆者於2007至2010年間，對繪畫創作的價值做重新思考與研究，以及繪畫創作內容表現的過程與成果。
「藝術創作必須深植於社會現象的反映、現實生活的投射與心靈的深耕，才能深刻落實。」筆者成長的過程正值台灣經濟起飛階段，如火如荼的建設，不斷改變著人們生活的空間及方式，每個人或每個地方都必須面對這種時代進化的脈動。因此筆者便選擇「城市生活空間之意象」作為研究的方向。
在文獻探討中筆者發現，自工業革命以來，傳統的社會結構及價值觀面臨重大的衝擊，藝術家關心的事情已由對宗教、皇室的熱忱，逐漸轉趨以生活週遭的事物去發現、闡訴個人內心之意念。另一方面人類雖然經歷了科學的進步與繁榮，但也飽嘗了世界大戰的苦果，由於人們對現實社會的焦慮、質疑或不滿，選擇了逃避與批判現實，在繪畫的形式則擺脫現實的物象束縛，轉而寄情於純粹的心靈探索或對東方哲學的沉思，於是創造了精神的具體化「抽象表現主義」。
二十世紀以來，一直是人類史上動盪、變革最劇烈的時代，直到今日未曾停歇。生活在多元、擁擠、疏離、充滿矛盾與不確定感的現今社會，筆者面對繪畫創作，除了理性的探索城市空間結構外，還包含著反映城市生活的紛亂與不確定感，本著「抽象表現主義」的精神，藉著色彩、線條、肌理等造形基本要素，以非敘述性、非寫實性的方式來傳達城市建構過程、空間及人文特質。
藝術的創作，除了是藝術家生活閱歷和文化素養外，也是對周圍世界的感知的結果。筆者在創作的過程中，深刻體會到藝術表現與時代脈動密不可分的關係，面對瞬息萬變的現代社會，希望懷著一顆赤子之心、開拓藝術視野但不迷失方向，築夢踏實，創作不懈。

關鍵詞：建構、空間、意象、抽象表現主義

Abstract
Image of urban life and space—Dissertation on Hui-Ping Huang’s painting creations
In terms of this study on creations, the author has undertaken reflections and researches on the value of painting creations from 2007 to 2010, as well as the processes and fruits shown in the contents of the painting creations.
“Art creation must be deeply rooted in the reflections of social phenomena, the projection of real life and the deep cultivation of souls, so that it can be carried out profoundly.” During the author’s progress of growing up, Taiwan was about to have rising economic prosperity. Every infrastructure was built nonstop, which changed people’s living space and styles continuously. Everyone or every place has to face such a pulse of evolution in this era. Therefore, the author selected “Image of urban life and space” to be the direction of the study.
Through literature review, the author has found: Since the Industrial Revolution, traditional social structures and values have encountered tremendous impact. Artists have gradually changed their concerns to discover and interpret a person’s inner thought through the affairs in our surroundings, from the original enthusiasm about religions and the royal house. On the other hand, although human beings have experienced scientific progress and prosperity, however, they also underwent the painful consequences of World Wars fully. Because of human being’s anxiety, doubt or dissatisfaction about the real society, they choose to avoid and criticize the reality. In the form of paintings, they get rid of the constraints of objects in the reality, and turn to express their feelings via pure spiritual exploration or undertake contemplation on Eastern philosophy. Hence, the “Abstract Expressionism”, a concretion of mentality, has formed.
Since the 20th Century, human beings have encountered the most turbulent times of fierce revolutions in history that have not ceased yet. Living in such a contemporary society filled with diversity, crowdedness, alienation, contradiction and uncertainty, in addition to exploring the urban space structure via rationality, the author has included perceptiveness to reflect the chaos and uncertainty in urban life, through his creations of paintings. Based on the spirit of “Abstract Expressionism”, through the basic elements of modeling such as colors, lines and veins, he expresses the city’s construction process, space and humane qualities by means of non-descriptive and non- realistic ways.
An art creation not only shows an artist’s life experience and cultural disposition, but also shows the outcome of his perception of the surroundings. In the process of creation, the author profoundly experienced the closely-connected relationship between art performances and the pulse of the era. In face of such a modern society that varies from minute to minute, the author hopes to embrace an utter innocence, for expanding his vision of art without losing his directions, so as to realize dreams concretely and create works diligently.

Key Words: Construct, Space, Image, Abstract Expressionism

參考書目
《了解藝術》佳慶文化事業有限公司。1984。
王秀雄。《美術心理學》。台北：台北市立美術館
史作檉著。《尋找山中的塞尚》。台北：典藏藝術家庭。2007。
朱光潛。《談美》。台北：前衛出版社。1983。
李厚。《美的歷程》。台北：元山書局。1984。
何正廣。《歐美現代美術》。台北：藝術家，1994。
何正廣主編，《康丁斯基抽象畫先驅》。台北：藝術家，1996。
沈尹默。《書法藝術欣賞》。台北：莊嚴出版社。1984。
林芳怡。《建築向前走》。台北：幼獅。2005。
施植明。《建築省思》。台北：田園城市文化。2008。
姚一葦著，《美的範疇論》。台北：開明，1997。
徐復觀。《中國藝術精神》。台北：學生書局。1983。
陳世良。《上了建築旅行的癮》。台北：木馬文化。2004。
國立歷史博物館編輯委員會編輯。《王懷慶畫展》。台北：史博館，2008。
黃春秀主編，《克利巨匠與世界名畫》。台北：台灣麥克，1994。
喻麗清《愛跳舞的方格子：蒙德里安的新造型》。台北：三民，2007。
楊忠斌。《 主編教育美學：美學與教育問題述評》。台北：師大，2008。
熊秉明。《中國書法理論體系》。香港：商務印書館，1984。
蔡毓芬譯。《西洋建築史》。台北：地景。2000。
蔣勳。《美的沉思》。台北：雄獅。2003。
聯合報/A8版/記者陳宛茜、賴素鈴、鄭朝陽、梁玉芳/相對論2.0主題對談城市美學/2008-05-12
薛保瑕，〈間距的現實：陳建榮的繪畫世界〉，2001。
藝術家 No.343 , p.562 , 2003 .12。
E.H.Gombrich著，雨云譯《藝術的故事》。台北：聯經，1997。
Amheim.Rudolf著，李長俊譯，《藝術與視覺心理學》。台北：雄獅圖書。1982。
Wassily Kandinsky著，吳瑪琍譯《藝術的精神性》。台北：藝術家，1985。

參考網站
http://web.mdes.tp.edu.tw/~t082/托貝的書寫性繪畫6.13.doc 2010/06/12
http://www.tfam.museum/07_Collections/Default.aspx?PKID=691台北市立美術館 典藏 >陳庭詩 | 生之慾2010/06/12
http://www.epochtimes.com/b5/6/10/21/n1493920.htm
http://www.bp.ntu.edu.tw/citydesign/10.htm 2008/9/17
http://neogenova.blogspot.com/2006/09/blog-post.html 2008/12/11
http://rumotanart.com/?uid-344-action-viewspace-itemid-1373 2008/11/29
http://big5.xinhuanet.com/gate/big5/news.xinhuanet.com/shuhua/2005-12/27/content_3973904.htm2008/11/30
http://www.xslx.com2008/12/23
http://web2.lionart.com.tw/artistsayart100/?p=37 20090312
http://blog.yam.com/pfulfill/article/16438086
http://rumotanart.com/?uid-344-action-viewspace-itemid-1373 20081129
http://big5.xinhuanet.com/gate/big5/news.xinhuanet.com/shuhua/2005-12/27/content_3973904.htm 2008/11/30
http://infodate.nctu.edu.tw/claire/teaching/pa/hw/92/hw39242514.htm2008/11/30
http://www.tfam.museum/07_Collections/Default.aspx?PKID=691