摘要

以動物塑像、動物模型玩具這類具社會意義的「仿生命」為出發點，使用一種新語境去詮釋文化與社會脈絡，並利用對象物本身具有的多項繪畫性特質，去把繪畫和影像作有效且巧妙的結合，延伸出除了社會性議題外，在繪畫、攝影、對象物三方的形式轉換議題上亦有材質式的探索研究與突破，企圖創造一個綜合性的表現語彙，尋求在藝術史脈絡中罕被嘗試與解釋的一塊，用繪畫方式提供一個辯證平台。

除了以布希亞(Jean Baudrillard，1929~2007)的「擬像」(simulation)理論、布萊希特(Bertolt Brecht，1898~1956)的「陌生化效果」(strange effect)來分析與印證自己作品之外，亦尋找和解釋畫面中仿生命所散發的無名狀當代靈光(aura)氣質，分析從對象物本身的社會性，到肖像式的取材形式，以至繪畫如何結合攝影影像與對象物作到新的詮釋語境。

<就是喜歡你這樣系列>描繪主體是公園塑像，藉塑像本身的滑稽仿造感和破舊，表達自身兒時經驗與當今時空環境對比下的失落和驚奇，詮釋某種經驗中的熟悉而又陌生感；而<玩物參照系列>是描繪小型動物模型玩具，藉編導式攝影的手法，從玩具本身不尋常的表情與粗仿外觀下突顯童年情節與當下消費環境中的心理落差。對象主體從「景觀雕塑」至「微型玩具」，然而雖兩者體積落差極大，但都以動物的形象化身孩童的「兒時玩伴」，它們共同的親切感來自於為孩童「服務」的目的特質，儘管他們是老虎獅子還是大猩猩，水泥材質和渺小的體積形成安全範圍內的可馭獸性。我藉由這類仿生命的肖像，試圖模擬出在兒時經驗與現在時空交錯下的熟悉瞬間。

Abstract
With the “life mimicry” animal statues and animal model toys with social significances as the starting point, a new context was adopted to interpret the cultural and social context. Additionally, through multiple painting traits of objects themselves, the paintings and images were effectively and cleverly combined to not only expand social issues, but also engage in material related exploratory research and breakthroughs related to the conversion of the tripartite form of painting, photography, and objects in an attempt to create a comprehensive performance vocabulary and seek parts that had rarely been tried and interpreted throughout the context of art history. A dialectical platform was therefore provided through paintings.
In addition to the simulation theory of Jean Baudrillard (1929~2007) and “strange effect” of Bertolt Brecht (1898~1956) to analyze and verify my own works, the temperament of the unknown contemporary aura emitted from the image of the life mimicry was sought to analyze the sociality of the objects themselves, from the portrait-drawing forms to how to combine photography and images into new text for interpretation.
The park statue was the main body described in the “Just like the way you are” series. Through lucrative mimicry and shabby feel of the statue itself, childhood experience and the sense of loss and amazement in contrast to today’s space environment were expressed, so as to interpret the familiar and strange feelings associated with a certain experience. On the other hand, small animal model toys were described in the “Plaything study” series. From the unusual expressions of the toys and crude mimicry experience, the childhood episode and the psychological gap of the
current consumer environment were highlighted through fabricated photography arrangement. As for the main body of the object, “landscape sculpture” to “miniature toys”, although the two varied greatly in volume, they were presented in animal images as children’s “childhood playmates.” Their shared friendliness came from the characterization of the purpose to “serve children”, whether they are tigers, lions, or gorillas, the cement material or small volume formed bestiality within a safe range. I attempted to simulate the childhood experience and the familiar instant in the crisscross of time and space through this type of “life mimicry” portraits.

參考書目

一、書目
Walter Benjamin，(許綺玲 譯) ，《迎向靈光消逝的年代》，台北：台灣攝影工作室，1998。
Walter Benjamin，(李偉，郭東 編譯)，《機械複製時代的藝術》，重慶：重慶出版社，2006。
John L. Phillips，Jr. (王文科 編譯)，《皮亞傑式兒童心理學與應用》，台北：心理，1996。
Cabeza y Retrato，(黃聿君 譯)，《肖像 Heads and Portrais》，台北：積木文化，2004。
John Berger，(吳莉君 譯)，《觀看的世界》，台北：麥田，城邦文化，2010。
Susan Sontag，(黃翰荻 譯)，《論攝影》，台北：唐山出版社，1997。
季桂保，《布希亞》，台北：生智，2002。
姚瑞中，《台灣廢墟迷走》，台北：田園，2004。
游本寬，《論現實攝影》，台北：遠流，1995。
游本寬，《美術攝影論思》，台北：台北市裡美術館，2003
張蘭閣，《戲劇范型 下》，北京：北京大學，2009。
封一函，《超級寫實主義》，北京：人民美術，2002。
舒思沈，《靜物畫研究》，台北：五洲，1977。
蔣建兵，《貝爾納．弗孔》，長春：吉林美術，2010。

二、期刊、論文
陳詠中，《家族編織-陳詠中創作論述》，國立台南大學美術學系碩士班碩士論文，2009。
許玉玲，<鏡頭下的真實與超現實感：法國觀念攝影大師貝爾納．弗孔的「夢境」>，《典藏藝術家》雜誌446期，台北：藝術家出版社，2012。
三、工具書
廖炳惠，《關鍵詞200-文學與批評研究的通用詞彙編》，台北：麥田，2003。