本論文是我對自己研究所期間的創作行為之分析與觀察，從我的創作主題—大自然中的流水出發，回憶記憶中與自然相處的感受，近一步釐清自身創作中追求的意象。研究過程中透過近代哲學家與藝術家的文本與作品，更全面地考察記憶的特質，反思自我提取記憶的經驗。最後，也經由個人創作歷程的爬梳，整理研究所期間創作心境、材料、技巧上的變化，每一創作階段皆從文本閱讀與藝術品賞析中學習，一步步建構自身的創作語言。

文章將分成五個章節，第一章「緒論」闡明研究動機與目的、研究範圍和研究方法，第二章「文獻回顧」分成兩小節，第一節以柏格森所撰寫的《時間與自由意志》和《物質與記憶》為討論文本，闡述柏格森對心靈運動的研究如何影響我梳理自身的記憶與感覺。第二節則以康丁斯基所書寫的《藝術的精神性》切入近代藝術的歷史，接著透過了解「動勢繪畫」的特色與意涵以及賞析帕洛克（Paul Jackson Pollock, 1912-1956）、拉里．潘斯 （Larry Poons, 1937）、雪莉．戈德法布（Shirley Goldfarb, 1925 - 1980）等藝術家的抽象繪畫作品來思考自身的創作形式與內涵。第三章「形式分析」亦再細分成兩個小節，第一個小節將說明我的創作理念在就讀研究所期間的變化，第二個小節則透過油彩、線條與走勢、薄塗與擦抹、色彩四個主題，說明我的創作媒材及創作方法。第四章「作品分析」我將對2021至2023年間所創作的作品，個別說明畫面的構成，第五章「結論」則為此本論文的總結與期許。

This thesis presents the analysis and observation of my art creation throughout the postgraduate studies. Stemming from the theme of my art creation, the flowing water in nature, this study clarifies the pursuit of my art by recalling the feelings of interacting with nature. Throughout the research process, I explore various texts and creations of modern philosophers and artists, aiming at examining my memories and reflecting on the memory recalling process in a more comprehensive way. Deep diving into my art creating journey, I review all the changes in my mindset, material used, and art techniques. Through reading and appreciating art works, I gradually develop my own ways to create arts
This thesis consists of five chapters. Chapter 1, “Introduction,” clarifies the research motives and objectives, scope, and methodology. Chapter 2, “Literature Review,” consists of two sections. The first section focuses on Bergson’s Time and Free Will and Matter and Memory, reflecting on how Bergson’s research on mental movements has influenced my ways of organizing memories and sensations. Starting from Kandinsky’s Concerning the Concerning The Spiritual In Art, the second section delves into the history of modern art. Through exploring the features and meanings of “gesture painting” and analyzing abstract paintings by artists including Paul Jackson Pollock (1912-1956), Larry Poons (1937- ), and Shirley Goldfarb (1925-1980), this section review the ways how I create arts and the meanings of my creations. Chapter 3, “Formal Analysis,” also consists of two sections. One illuminates the changes in my creation mindset during the postgraduate studies, while the other elaborates the materials and techniques I use for art creation though four themes: oil painting, lines and trends, thin coating and rubbing, and color. Chapter 4, “Artwork Analysis,” explores the works I created between 2021 and 2023. It carefully discusses the composition of each painting. Chapter 5, "Conclusion," summarizes and outlines the expectations of this study.

一、專書
Michael Auping，黃麗娟譯，《抽象表現主義》。台北市：遠流出版社，1991。
Henri Bergson，吳士棟譯，《時間與自由意識》。北京：商務印書館出版，1997。（原著1889年出版）
Henri Bergson，姚晶晶譯，《物質與記憶》。西安市：安徽人民出版社，2013。（原著1896年出版）
Henri Bergson，張君譯，《物質與記憶》。新北市：先知出版社，1976。（原著1896年出版）
Henri Bergson，陳聖生譯，《創造的進化論》。台北市：五南圖書出版社，2020。（原著1907年出版）
Wasily Kandinsky，吳瑪悧譯，《藝術的精神性》。台北市：藝術家出版社，1985。（原著1912年出版）
鄧剛，《身心與綿延—柏格森哲學中的身心關係》。北京：人民出版社，2014。
劉其偉，《現代繪畫基本理論》。台北市：雄獅圖書，1999。

二、網路資料
" Gestural. " Tate, Tate, 01 10 2023,
< https://www.tate.org.uk/art/art-terms/g/gestural >
"About Larry Poons." Larry Poons, Artists Rights Society, 05 11 2023,
<https://larrypoons.com>
" Shirley Goldfarb " Loretta Howard Gallery , Loretta Howard, 05 11 2023,
< https://www.lorettahoward.com/artists/shirley-goldfarb/biography >