本篇論文題目為「無常日」，可看作為「無常，日」（Impermanent days）與「無，常日」（Unusual days）。無常為「常」的反義字，指為一切世間萬物終將會於未知時發生變異的可能；而常日的解釋則為平日、往日；前者「無常，日」為所有存在無常的日子，而後者「無，常日」則是沒有所謂的日常這件事。兩者概念皆與我的創作環環相扣，本論文將整理2019年至2022年間的創作以及梳理自己分別兩個時期的創作狀態及再發揮的可能。

第一章「緒論」，我將鋪陳在研究所階段創作的研究動機、目的，及說明自己的研究內容與方法，主要聚焦在進入研究所時期創作上從水墨走向立體，再從立體走向空間的轉變，為以下章節做鋪陳。第二章「此岸／彼岸」，敘述過去從平面的水墨作品脈絡轉向空間裝置的過程，說明自己如何從當代創作思維重新建立水墨創作；並以藝術家研究與考察作為研究方法，分別討論關於當代水墨的可能性及分類。此外，亦將以書寫作為創作型態的藝術家作交錯辯證。第三章「空間的語境」，我將分析自己從水墨創作轉向裝置的過程，並且說明創作的形式、手法以及創作論述。第四章「沒有關係的關係」，則闡述自己在創作中加入了更多的日常物件，並說明在藝術創作中「重複」的概念，接著闡述「在場」（Presence）與「缺席」（Absence）這兩者間交織著有關時間和空間意涵的可能。第五章「常日的軌跡」，將梳理以及分析我現階段的創作脈絡。第六章「結論」，以研究所階段的研究與創作做一個現階段的統整及結語。

The title of this thesis is “Another Day of Impermanence - A thesis of Ching-Ning Huang’s art works” which could be read in Chinese as both “Wu chang-ri” that means “impermanent days” and on the contrary, “Wu-Chang ri” that means “unusual days”. “Wu chang” in Chinese is an antonym of “Chang” (“usual,” “ordinary,” or “constant”) and refers to the possibility of everything unexpectedly changing. “Chang ri” could be interpreted as “usual days” or “bygone days.” “Wu chang-ri” refers to all days in which “Wuchang”—or “impermanence”—exists, whereas “Wu-chang ri” is the notion that the usual does not exist. Both concepts are tightly intertwined with my works. In this writing, my works from 2019 to 2022 will be sorted into two distinct creative periods to explore possibilities of further development.

In the Chapter I, “Introduction”, I will present the research motivations and objectives of my works during my time in graduate school as well as my research projects and methods. The focus is the transition from Chinese ink painting to three dimensions, then onto spatial art, laying the foundation for subsequent sections. In Chapter II, “This Shore/That Shore”, I will describe the journey of transitioning from two-dimensional Chinese ink painting to spatial installation, including how I reconceptualized Chinese ink works by using contemporary creative concept. I will also discuss possibilities and classification in contemporary Chinese ink painting based on related artists and their observations. Artists working with Chinese calligraphy are also included to offer additional perspectives. In Chapter III, “Context of Space,” I will analyze my journey from Chinese ink painting to installation and explain the forms, techniques, and creative theories of my works. In Chapter IV, “Unrelated Relationships,” I will interpret how I merged daily objects into my works and explored the concept of repetition in artistic practice as well as the possibilities of temporal and spatial significance interwoven into presence and absence. In Chapter V, “Daily Trails,” I will analyze my current creating context. In Chapter VI, “Conclusion”, I will summarize my current creative practice on the basis of my research and works in my graduate study.

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