摘要

本創作論將述從成長背景為開端至研究所階段的過程與轉變,說明我從設
計領域的範疇中跨入幾何與硬邊抽象之視覺藝術創作,並試圖從中思索及釐清繪
畫的意義與可能。論述共分為五個章節架構,分別為「緒論」、「回」、「形式
與思維」、「建構邊界意識」以及「結論」,梳理我從 2019 至 2023 研究所期間
的創作。

第一章「緒論」,以童年生活在鄉村記憶,反芻過去成長過程及視覺經驗開
拓我在色彩上的洞察力,講述本論文創作軌跡與生活經驗。從創作方法、內容說
明創作發展的演變,由平面幾何與硬邊抽象繪畫延伸至牆面與空間的繪畫裝置表
現。第二章「回」,論文主題,乃是針對每一系列作品之媒材及思考轉換,進行
剖析「回」猶如畫面的一種視覺牴觸的迴路,時常圍繞的路徑,沒有任何一個開
頭也沒有任何一個結尾,我將解說每一個系列創作編排與展覽呈現方式。第三章
「形式與思維」,對於自身平塗手法的著迷與喜愛,從畫布上堆疊色彩的直覺性,
至啟發我的藝術家作品及分析硬邊抽象理論的延續。透過拆解物件的樣貌,簡化
的過程呼應著某個地方的存在與觀看方式。以及,對於符號在創作過程之實與虛
的對照及觀念之意義認知與圖形的含義,以作為思維的開端。第四章「建構邊界
意識」,對於我在創作領域範疇內,引領著我進入硬邊繪畫的取材、學理上的應
用與藝術家的借鏡。使我在繪畫上有多層面廣泛的閱讀及認知,建構屬於自己個
人的繪畫語彙,以及從繪畫平面思考內,進投入繪畫裝置。第五章「結論」,我
將總結研究所期間創作思考上的檢討與結果,並期許自己從論文的撰寫,檢視創
作的歷程,並開創藝術創作的多樣性。

關鍵字:幾何、色彩、硬邊抽象、繪畫裝置

Abstract

This thesis will begin with my upbringing, and transitions through my academic
study and in which I’ll explain how I moved from the field of design to the realm of
geometric and hard-edged abstract painting. During this time attempts will be made to
contemplate and clarify the meaning and potential of painting. There will be five
chapters divided as: "Introduction," "Loop," "Form and Thinking," "Constructing
Boundary Awareness," and "Conclusion." It will outline my artistic journey from 2019
to 2023 during my graduate studies.

In Chapter I: "Introduction," I’ll recount how memories and the visual
experiences of my rural childhood that expanded my insight into the use of colors. I’ll
discuss my life experiences and the creative trace of this thesis. From creative methods
to content, I’ll explain the evolution of my artistic development, as well as the extension
from flat geometry and hard-edged abstract painting to wall and spatial painting
installations.

In Chapter II: "Loop," I’ll focus on the analysis of materials and thought
transformations in each series of works. It’s like a visually contradicting loop in a
composition, a surrounding path, with no specific beginning or end. I’ll explain the
arrangement of each series of works and their corresponding presentation in exhibitions.

In Chapter III, "Form and Thinking," I’ll explore my fascination and love for the
technique of painting flat from the intuitive stacking of colors on canvas to the
inspiration from other artists' works. I’ll also make analysis of hard-edged abstract
theory. By deconstructing the appearance of objects, the reducing process will echo
their existence and viewpoints from certain angles. I’ll also explore the contrast

iii

between reality and virtuality of symbols in the creative process, as well as the meaning
and significance of concepts, serving as a starting point for my concept.

In Chapter IV: "Constructing the Awareness of Boundary," I’ll discusses how
I’ve been guided into the field of hard-edged painting, the application of those theories,
and my inspiration from other artists. These have allowed me to gain a multi-layered
extensive understanding of painting, while constructing my own personal visual
language. I’ll therefore working on the transitioning from flat to installation-based
painting.

In Chapter V: "Conclusion," I’ll summarize the reflections and results of my
creative thinking during my graduate studies. Here I hope to review the process of my
artistic journey through the writing of this thesis, and to explore the diversity of artistic
creation.

Keywords: Geometric Form, Chromatics, Hard-Edged Abstract Painting, Painting
Installation

參考書目
中文書目
Tim Creswell，徐苔玲、王志弘譯，《地方：記憶、想像與認同》，台北市：群學出版有限公司，2006。
John Allen、Doreen Massey、Michael Pyke，王志弘譯，《騷動的城市移動/定著》，台北市：群學出版有限公司，2009。
魯道夫．安海姆著，郭小平、瞿燦譯，《藝術心理學論》，台北：台灣商務，1992。
Walter Benjamin，莊仲黎譯，《機械複製時代的藝術作品：班雅明精選集》，台北市：商周出版，2019。
汪安民著，《文化研究關鍵詞》，台北市，麥田出版，城邦文化事業有限公司，2013。
劉克峰著，《純粹主義美學的現代性》，台北市，洪葉文化(初版)，1996。
郭中人著，《空間・視覺・感知》，台北市，曉園出版社有限公司，2007。
原研哉、阿部雅世著，蔡欣芸、李玟瑩譯，《為什麼設計》，新北市：木馬文化事業股份有限公司，2009。
Jean-Luc Chalumeau，王玉齡、黃海鳴譯，《藝術解讀》，台北市：遠流出版社，1996。
陳俊鋒著，《劉剛LIU GANG》，蜂巢當代藝術中心，劉剛工作室出版，2021。
赤瀨川原平、藤森照信、南伸坊著，《路上觀察學入門》，台北市：行人文化實驗室，2014。