摘要

從生活經驗出發，尋找創作的靈感來源一直是筆者奉為圭臬的創作精神，在自身周遭環境下，筆者對靜物題材特別有深刻感受。創作題材以現代物件為主軸，利用古典油畫技法創作，筆觸的堆疊造成了時間的進行，分別以「肖像」般的創作與「空間」來探究與體驗當下環境。

創作中的圖象與意涵，主要目的為:
一. 解析生活中各物件的定位與臨在感。
二. 將幻境與生活經驗置入物件與生活經驗空間。
三. 藉由繪畫的形式表達出物件與創作者的內在真實。

古典靜物畫隱喻了日常生活的寫照，靜物繪畫走到當代，除了有各種內心意識探討與淺意識造成的奇幻情景，筆者從當代最親密與最平常的觀察與記憶方式（攝影）著眼研究，並從二度平面空間的照片與畫布裡探討外在真實與內在真實的差異與內涵象徵。繪畫空間表現與整體氛圍創造，筆者以尚．布希亞（Jean Baudrillard）的擺設人理論來做為驗證與投射物件與人的親密關係與各類功能性象徵。照片與繪畫間的曖昧關係，藉由研究羅蘭巴特（Ro1and Barthes）的照片理論來做深入研究，釐清二度平面空間上的時間關係與內容，分別以圖像與本義來探討外在真實與內在真實。

本著寫實主義與照相寫實的基本精神，從釐清自身創作脈絡與創作動機中，挖掘出對於藝術與生活的體驗，在當代靜物繪畫中，延伸出對靜物繪畫的新見解與觀察，並期許超越外在真實達到內在真實的創作目標。

Abstract

Searching for the sources of creative inspiration from living experience is what the author has been persisting on. Regarded as the criterion of creative spirit, the author has particularly profound feelings for the still life subject matter in his own surroundings. Creative ideas mainly come from modern objects, with the creative use of classical painting techniques, overlapping strokes to show a continuation of time, and using "portrait" and "space" creation methods to explore and experience the current environment.

The main purposes of arts creation from the perspective of images and original meanings are:

1. Analyzing the positioning and presence of various objects encountered in daily life;

2. Placing fantasies and life experiences into objects and the living space; and

3. Expressing the inner reality between the creator and objects in paintings.

Classical still life paintings have metaphors in the portrayal of daily life. As still life paintings reach the contemporary epoch, in addition to searches for the innermost being and peripheral sensations from fantasy scenes, the author studies and explores the difference between external reality and internal reality and their symbolic connotations, from the most intimate and most common observation and photograph recording, and from looking at the two dimensional photos and canvas paintings. To create the spatial arrangement in paintings and the overall atmosphere, the author also uses the arrangement theory of Jean Baudrillard to verify the intimate relations between human and objects, and various functional symbols. According to the photograph theories of Roland Barthes, an in-depth research is made on the ambiguous relationship between photographs and paintings, to clarify the time space relation in the two dimensional plane, and also a discussion is conducted of the internal reality and external reality from the perspective of images and original meanings.

From the spirit of realism and photographic realism, the author clarifies his own art creations and motivation by excavating the art and living experiences. In contemporary still life paintings, this helps extend the meaning of still life paintings and observations. The author hopes to set the creation objective beyond the external reality to the inner reality.

參考書目（按筆劃排列）：
「人及其象徵」 Carl. G. Jung（1875~1961）著 龔卓軍譯 （台北，立緒出版社 1999）
「上帝的眼睛—攝影哲學」 華特･班雅明（Walter Benjamin）蘇珊･桑塔格（Susan Sontag） 著
(北京，中國人民大學出版社 2005年12月出版)
「台灣現代美術大系—超寫實風繪畫」 李美玲 著 (台北，藝術家出版社 2004)
「在藝術終結之後」 亞瑟.丹托（Arthur C. Danto）著 （台北，麥田出版 2004）
「迎向靈光消逝的年代」 華特･班雅明（Walter Benjamin）著
(台北，台灣攝影工作室 1999年1月初版)
「物體系」 尚．布希亞（Jean Baudrillard） 著 林志明 譯
（台北，時報出版社 1997年6月初版）
「明室-攝影札記」 羅蘭巴特（Ro1and Barthes，1915-1980）著 (台北，臺灣攝影季刊 1995)
「寫實主義」 Linda Nochlin(1931~) 著 刁筱華譯 （台北，遠流出版社 1998）
「顯義與晦義」 羅蘭巴特（Ro1and Barthes，1915-1980）著
(天津，百花文義出版社 2005年8月出版)