摘要

創作者自大學時代開始，選擇以陶土作為主要的創作媒材，在對陶土做反覆操控並逐漸熟悉的過程中，創作經驗重新連結到幼時與土地接觸的經驗，並將創作從以陶土單純作為造形表現的媒介，到探究土的精神意涵，將生命本源於土，因生命而生的創作自然也源自於土的「本土」概念具體化為陶藝作品。
本創作論述以探究土地特性、樣貌及精神意涵；土地與人類的關係，到以土地作為生命載體，生命在其間流轉循環的概念，並分析歸納出大地系列、人類遺跡系列與生命系列等三個系列作品。本創作研究之目的為：一、探討大地、土性與創作者心性間之關係。二、探析大地、土性與人類遺跡間之關聯性。三、探討土性與生命循環記憶之關係。四、經由本創作研究之理論與作品探討、歸納與分析，提出個人未來創作發展之方向。
基於以上創作研究目的，創作者採用文獻探討法演繹創作理論根基，並利用藝術創作之行動研究法，透過不斷反思與創作實踐，逐漸建構出以土性作為觀照並傳達內在心性之藝術理念與表現形式。
本創作研究的結論為：一、透過大地系列創作，體認自身創作是以土性為根本，自身心性則隨之運作最後則以作品形式呈現之關係。二、利用人類遺跡系列創作，將考古的觀念解放為對任何文化的探索且無時空上的限制。三、藉由生命系列創作，得以探討土中所蘊含之生命循環記憶。四、透過本創作研究之理論與作品探討、歸納與分析，最後釐清個人未來創作發展之方向。

Abstract

The creator has chosen clay as the major material for creation since he was in college. In the process of constantly manipulating clay and familiarizing myself with clay, I link my experience of creation with my earlier contact with the land in my childhood, and thoroughly display the purity of clay as its distinctive feature. My creation explores the spirit and meaning of land and attributes the original source of life to it, and my further turns these ideas into ceramic works.
This study discusses the features, appearances, spirits and meanings of land, and it further explores the relationships of human beings and the Earths, beginning with the land being the carrier of life, and concluding with a thorough analysis that proposes three series of ceramic works, namely, Series on the Land, Series on the Trace of Human Presence, and Series on Life. This study aims to (1) Conferring land、clay with my intentions relations (2)discern land、clay and human historical remains correlations (3)Observe difference between land and the memory of the lifecycle.
Based on the purposes of this creation, the creator reviews are related literally, which lays a solid groundwork for the rationale behind his creation. Further, he conducts an action research through artistic creation, which impels him to gradually construct the artistic conceptions and forms of creation that encourage the portrayal of internal nature by reflecting upon the land. This study eventually ends with three conclusions and two directions of and expectations for future creation.
The conclusion of this study is as follows:
1. Through creating the Series on the Land works, the artist perceived that upon Land lays a major groundwork for his creation, with the manipulation of heat treatment; at last, he presented their mutual relationships in the form of artworks.
2. By means of creating the Series on the Trace of Human Presence works, the artist emancipated archeological concepts to explore all kinds of cultures without space-time constraints.
3. By creating the Series on Life works, the artist explored the memory of lifecycle behind the land.
4. Through the discussion on the rationale behind this creative research and the creator’s artistic works, the artist induced and analyzed his artworks, and eventually, clarified his personal future direction of creation.

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