《堆積．依附．斷裂－林婷婷的創作論述》是二OO八年至二O一三年間的創作，本研究的目的在透過創作表達心理之脫離與依附的關係，並透過創作堆疊記憶與失憶成為生命的基石。創作思想脈絡是由父親離逝之後，為了紀念父親，因而發展出以碗的形式打造出象徵幸福與安逸的空間。牛肉麵是我與父親最常去吃的食物，除了象徵我與父親的關係，也延伸至牛肉麵本身的外籍文化背景，它更包含了父親最常告訴我的人生哲學。本創作研究之學理基礎是從牛肉麵所蘊含的的歷史背景開始，以民國三十八年政府遷台後，眷村經由過往｢小碗紅湯牛肉｣演變為台灣最著名的小吃｢牛肉麵｣，與原始關係斷裂。｢牛肉麵｣已經不再是｢小碗紅湯牛肉｣，他們擁有不同的人事時地物，更衍生出探討食物對於每一個烹飪者之間的關係，以及吃食物的人與烹飪者之間的關係。本創作探討｢吃｣背後所擁有著為了生存而必需的存在，而衍生至人必需為自己的理想而生活，而不是牽就其他的事物，所以生活不該只是平面的。就如同本創作研究之技法，癱軟樹脂必須有碗的支撐才能擁有其形狀，但其實加入硬化劑後的樹脂，就能成為堅硬的透明厚度，這樣透明的厚度，就能夠支撐起以繪畫描繪概念，讓油畫交織與透明厚度堆疊，以延伸平面成為立體。立體的命，就如同一隻由砸碎玻璃所組成的脆弱的綠繡眼，也能夠承受自己生命的重量後對抗巨大的悲劇，用力的拍動翅膀，托起她沉重的身驅，努力的向地心引力抗，那份奮力追尋的光芒，就如同安．蘭德(Ayn Rand)所說的：「我發誓，以我的生命與我的愛起誓，我永不會為了另一個人而活，也不會要求另一個人為我而活」，積極朝向｢自身即為目的｣的終極目標 。
關鍵字:堆疊､ 依附､ 斷裂

"Accumulation, Attachment, and Fracture --- the Creative Discourse by Lin, Ting-Ting" is the creation of the author from 2008 to 2013. The purpose of this research is to express the psychological relationship between attachment and detachment by the creative expressions, and through the creation of stack memory and amnesia to set up the building blocks of author’s own life. This creative thinking can be traced back to the death of author’s father. In order to commemorate her father, the author created a special space in the form of bowls to symbolize happiness and comfort. Beef noodle soup (or beef noodles) is the favorite food for both author’s father and herself, and they often had it together. In addition to the symbol of the relationship with author’s father, beef noodle soup also implies its foreign cultural background; moreover, it includes the life philosophy author’s father often told her. The theoretical basis of this study is derived from the historical and culture background of beef noodles. Since 1949 the government moved to Taiwan , the past "small-bowl red beef soup" of military dependents' villages has evolved to Taiwan's most famous snack, "beef noodles" , and its original snack relationship with mainland China has broken too. "Beef noodles" are no longer a “small-bowl red beef soup" and have different features; in addition, they also bring about the study of the relationships between food and cookers, as well as between cookers and people who have it. The thesis explores the necessary existence of eating for survival and derives that men must live for their own ideals rather than be pulled on by other things. So life should not be only flat. Just like the techniques of this creative study, soft Epoxy must have the support of bowls to hold its shape, but in fact Epoxy mixed with hardener can become hard transparent thickness, and the thickness of transparence can support the concept depicted by painting, so the painting interwoven with the accumulation of transparent thickness can extend the plane to become a three-dimensional solid. The three-dimensional life, just as a fragile green embroidered-eye composed of smashed glass, can withstand the weight of its own life and fight with the huge tragedy, then flapping its wings energetically to uphold its heavy body against the gravity. And the light which we are striving to pursue just like Ayn Rand has said---"I swear to my life and love that I will never live for another person, and I will not ask anyone to live for me, either."--- is toward the ultimate goal of “Self is purpose itself.”

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