本論文試圖對過去學習藝術的過程及心態進行總結和重新認知，並尋找出日 後新的創作方向，此調整和思考的過程成為研究所 2020 至 2025 年的創作內容。 包括〈龜兔賽跑〉、〈濫好人、標靶、知識份子〉、〈白盒子空間〉、〈展場幽 靈〉、〈不存在的自己〉系列、〈紅色幽靈〉系列等作品。
研究所期間創作和思考的動機來自對藝術理想的幻滅，這個強烈矛盾的經驗， 迫使我必須對藝術創作行為重新思考和認知，在研究所期間找到不同於過去的、 看待創作的心態。
首先透過分析 19 世紀俄羅斯寫實主義、社會寫實主義之繪畫特色及歷史脈 絡，以及諧擬(Parody)的創作手法在文藝創作中的表現意涵，來梳理我在創作 時面對的困境和思考。然後也透過皮耶.布迪厄(Pierre Bourdieu)的社會學理 論的研究，理解慣習與場域之間的的關聯和定義，並用以釐清創作者與展覽之間 的微妙關係，以及探討藝術價值從何而生等問題。最後試著在拋棄過去習以為常 的感知模式後，用新的狀態進行創作。

This thesis attempts to summarize and re-understand the process and mentality of learning art in the past, and to find new creative directions in the future. This process of adjustment and thinking will become the creative content of the institute from 2020 to 2025. Including works such as "The Tortoise and the Hare", "People pleaser, Target, Intellectual", "White Box ", "Exhibition Hall Ghost", "Non-Existent Self" series, and "Red Ghost" series.
The motivation for my creation and thinking during graduate school came from the disillusionment with my artistic ideals. This highly contradictory experience forced me to rethink and re-understand the act of artistic creation, and to find a different mindset towards creation during graduate school.
First, I will analyze the painting characteristics and historical context of 19th century Russian realism and social realism, as well as the expressive implications of parody in literary and artistic creation, to sort out the difficulties and thoughts I faced when creating. And then also through Pierre Bourdieu. The study of Pierre Bourdieu's sociological theory understands the relationship and definition between habitus and field, and uses it to clarify the subtle relationship between creators and exhibitions, as well as explore issues such as where artistic value comes from. Finally, try to create in a new state after abandoning the accustomed perception mode of the past.