此創作論述從2004年開始發展的《偽理性的失控》系列作品到2007年的《體現生活》系列為主要的研究範圍，其中的改變是，從緊抓畫筆的繪畫方式到直接利用觸覺感受情境的創作模式，以及從單純抒發內在情緒到從創作過程中追溯孩童時期的記憶畫面，我透過重新返視與整理的方式來爬梳與整理。藉由創作的身體勞動、「身體書寫」與部落格(Blog)的文字書寫，利用兩者彼此互文與並行方式來撰寫成此創作論述。
第一章「緒論」，以創作的研究動機與目的以及研究範圍為主要論述。第二章「放下畫筆」，針對創作模式由畫筆轉換至透過觸覺來創作轉變，陳述媒材與媒介物的陌生感如何引領著我進入不同系列當中。第三章「身體感」，以梅洛龐帝的「身體知覺」為出發點，結合榮格( Carl G. Jung )的「積極想像」情境，敘述以觸覺繪畫透過創作當下手部操作的感知過程，重新回到自身孩童時期的記憶以及積極尋求的安全感，並透過影響我創作與思考脈絡的藝術家波洛克(Jackson Pollock)、克萊因(Yves Klein)，和當代抽象表現藝術家湯布利(Cy Twombly)及大衛.瑞德(David Reed)，綜合四位藝術家對我的影響和如何引用他們的創作方式來作為此章節的論述重點。第四章「作品分析」，針對《偽理性的失控》系列、《體現生活》系列、《三維空間立體圖的轉換》三個系列結合部落格及文字手稿與創作彼此對照後再加以闡述。第五章「結論」，整合前四章所論述，重新分析到目前為止的創作後，發現一直企圖讓自己以「純觸覺」模式來創作的過程中，其實是學院中養成的視覺美感經驗強勢的引領著我，讓創作變成透過「觸覺」這個媒介物達到視覺經驗的畫面呈現。
關鍵字：觸覺(tactile)、視覺(visual)、身體感(physical senses)、積極想像(active imagination)。

Abstract
This thesis will include a series of art works I made from 2004, “Pseudo-Rationally Out of Control,” to 2007, “Nothing but Daily.” The created art style will be developed from brush painting to physical movement through fingers and toes. Furthermore, the art work will also exploring the awakening of childhood memories through the expressing of personal emotions. The writing will be complicated by the interpretation of paintings through physical touch, a research of contemporary artists, as well as the documented writing I built in my blog.

This thesis will be organized as the following manner. In Chapter I, “Preface”, the motivation of this research will be described briefly. In Chapter II, “Go the Brushes”, I will address the transition of my creating style from painting brushes to the use of physical sense. Besides, it portrays how the stickiness and thickness of the painting medium has driven me to explore various series of experimental works. In Chapter III, “Body Consciousness,” the research will be focus on the originality of Maurice Merleau-Ponty’s research of “Physical Sense” in conjunction with Carl G. Jung’s “Active Imagination”. The process of physical practice on the painting has driven me back to the memories of childhood and the desire for safety. Besides, from the study of artists such as: Jackson Pollock, Yves Klein, Cy Twombly and David Reed, the thought of my painting will be explained. In Chapter IV, I’ll analyze the series of art works: “Pseudo-Rationally Out of Control,”” Nothing But Daily,” and” Conversions of Three Dimensional Photographs” together with the drafts from my blogs. Finally, in Chapter V, a conclusion of this statements with the context of the previous four chapters will be settled.
From the study of the development of my painting, I’ve found the motivation of “physical sense” has eventually been dominated by the drive of academic training in both visual methodology and skill). The originally process of running away from my academic training has made me re-discover its value.

Key words: tactile、visual、physical senses、active imagination

【參考書目】
1. 瑪格莉特.艾特伍著，嚴韻譯，《與死者協商》，台匇〆麥甪出版社2002
2. 克莉絲汀〄寇威爾著，廖何敏譯，《身體的情緒地圖》，台匇〆弖靈工坊出
版2008
3. 榮格著，龔卓軍譯《人及其象徵》，台匇〆立緒出版社2003
4. 梅洛龐帝著，姜志輝譯，《知覺現象學》，匇京〆商務印刷館出版2005
5. 黛安艾克曼著，莊安祺譯，《感官之旅》，台匇〆時報出版2008
6. 趙之昂著， 膚覺經驗與審美意識》，匇京〆中國社會科學出版社) 出版2007
7. 龔卓軍著，《身體部署〆梅洛龐蒂與現象學之後》，台匇〆弖靈工坊出版2006
8. 娜妲莉〃高柏著，韓良憶譯，《弖靈寫作》，台匇〆弖靈工坊出版2002
9. Michael Auping 著，黃麗娟譯，《抽象表現主義》，台匇〆遠流出版社1991
10. 亞瑟丹托著，林雅琪.鄭惠雯譯，《在藝術終結之後》，台匇〆遠流出版社
2005
11. 郭藤輝著，《依弗克萊恩─與其非物質繪畫敏感性的研究》，台匇〆台匇市
立美術館1993
12. 姚瑞中編著，《台灣行為藝術檔案》，台匇〆遠流出版社2005
13. 弗拉基米爾納博科夫(Vladimir Nabokov)著，廖月娟譯，《說吧，記憶》，
台匇〆大塊文化2007
14. 詹姆斯〄霍爾(James A. Hall)，廖婉如譯，《榮格解夢書》，台匇〆弖靈工坊
出版2006

【參考網址】
1.David Reed http://www.davidreedstudio.com/#
2.辜詠文部落格http://www.wretch.cc/blog/chibiko
3. 倫敦藝術大學中國辦事處
http://www.arts-edu.com.cn/news/2007/2007-10-19/1192760821.html
4. 台北醫學大學萬芳醫院小兒部
http://www.wanfang.gov.tw/ped/contents/default_6-15.htm