從繪製親戚家人的孩子們開始，到接受委託、接觸各種不同類型的肖像繪畫歷練，每個肖像案子背後都蘊藏著許多故事、記憶與回憶，情感與傳承的牽絆，讓我一點一滴的累積在繪製過程中獲得的經驗與思考。

第一章「緒論」，說明研究動機與目的、研究方法與研究內容。在第二章，「肖像畫的延異」中，我敘述了肖像畫成為我創作中的主題，爾後也親手替自己過世的祖父母繪製肖像，在過程中勾起了往日與親人曾經的情感與記憶，透過攝影紀錄轉換成繪畫創作。接觸肖像繪畫開始，我以「開端」、「續」、「深度」、以及「轉折」，敘述著我在肖像畫這個領域的探究。這過程中出現了一個轉折，即目睹自己收養的流浪狗生產的畫面，觸發我對於母性力量的思考探究，因此去研究相關書籍並修讀課程，試著去理解另一類的思考方式，對自己做深刻的反省，並繪製了一系列有關於母系肖像的作品，從「婚禮女模」、「被期待的女孩」、「懷孕的女性」、「母親角色」，透過對於這些作品中角色的關懷當作起點，逐漸擴至關注社會結構下，常被忽略弱勢生命的問題。

第三章「深耕與爬梳」，我將應用蝴蝶效應這個理論去反省與思考，連結過去的脈絡，釐清自己一直以來所關注的議題，且在第四章，「陰性思維」帶給我轉換的觀念，重新觀看那些過往忽略的人、事、物、場域、甚至是商業性的喜劇電影，於是發現過往忽略的小細節與一直存在問題，成為佐證。在發現問題並恍然大悟後，讓我以往對於以理想狀態為認知標準的烏托邦世界產生質疑，繼而探索相關的藝術家及其作品，把感想與心得延伸到自己的創作裡。我將過往的經歷與當下反省過後的觀念做一個總整理，並帶入我的創作背景，在歸納後命名為：幸福肖像，以第五章「幸福肖像」，透過營造幸福感的過程這個議題創作出一系列相關作品，並在第六章「作品分析」作深入的探究。

Starting from painting family members and friends, to being commissioned by a variety of clients wishing an array of portraiture styles, I have accumulated and allowed myself the expansion of my painting experience. Behind every case study tucks away many different stories, personal memories, emotional connection and holdbacks. Through the painting of portraits, my world opened up to new experiences and discoveries in my thought process, and this journey has become nutrient for my creative practice.

First chapter “Introduction” explains the intention, goal, method and substance behind my research. Second chapter “Portraiture Difference,” describes the process in which I came to set portrait study as the theme of my thesis, how that led me to intimately characterize my deceased grandparents, and utilizing the method of documenting my surroundings via photography to materialize my research into portrait paintings. Embarking on my journey into the world of portrait study, I have come to express my exploration in the realms of portraiture through the stages of my “inception,” “continuation,” “comprehension,” and “revitalization” upon ideas. During this undertaking, I experienced an abrupt turn of events when I adopted an abandoned dog. I cared for her through her pregnancy and witnessed the birth of her puppies, which piqued my interest in delving into the complexity of the power of maternal instincts. I took up thorough studies in related readings and classes, to try to understand a perspective unfamiliar from which I was born into, so I can deeply self reflect and to begin to create a series of work related to women. From girls wanting to capture their most beautiful moment as a bride, to women conformed to the barriers of society, to expecting mothers and experienced mothers, I tried to channel a new found empathy in order to paint these characters. Further more, I attempted to extend the concept of maternal instincts onto my concern about the structure of our society and the existing problem of overlooking these omnipresent roles deemed inferior in our community.

Third chapter “Ploughing and Combing,” I utilize the theory of the “The Butterfly Effect,” to illuminate my perspective. Utilizing the theory of the butterfly effect to contemplate and contrast my past and present point of view, in conjunction with my artistic development, I am able to intelligibly analyze my constant and sustained focus on problematic societal values. And by approaching subjects with a “Feministic Mentality,” in Chapter Four, I rediscover my grasp on people, situations, materials, environments, even comedic films, and start to realize all the small minute details I have been blinded to, and persistent issues I was insensitive to. Having been made aware of these concerns, I also began to challenge my original impression of the Utopian ideology, and consequently set out to study the dystopian doctrines, its related artists and bodies of work, to include my dissection and conclusions about this world as a whole in my own creations.

Chapter Five describes how my evolved understanding of all my explorations in its entirety, have culminated in the final production of my portfolio, which I entitled, “The Portrayal of felicity.” And in Chapter Six “Dissection,” I further elaborate on my studies.

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