摘要
我以過往的家屋作為描繪對象，並在其中作了許多白日夢的發想，而白日夢的生成物─動物，或以陪伴者的姿態，或挪用文本作意象的表達，皆與家屋的關係密不可分，也成為生命歷程的紀錄。
外在空間，意象依附的所在，由透視線組構而成。我以透視學的角度討論我所創作的空間對象，從藝術史中透視的起源與脈絡，到我所延用關於描摩父親畫室內圖而來，屬於工業製圖的方法論。以及在我作品中時常出現的方格與線，我藉著它們，建立一個完整的劇場舞台，讓意象在其中發生。
內在空間，空間與意象共同完成的心理學狀態。透過巴舍拉的《空間詩學》 將家屋作為保護與孕育日夢的角色鮮明出來，以及藉榮格積極想像，將想像放在主動的位置，喚醒意象，並使自己置身於意識流中，慢慢以意象建築出記憶與心理狀態。在此也以佛洛伊德（Sigmund Freud，1856－1939）幻想的三個時間點:過去記憶、當下狀態與未來願望，作系列作品內在時間的的分析。
我將作品分為四個系列，《基地》系列以家屋與在其中作為陪伴角色的動物為主，回返最初的白日夢。《緩緩接近》系列從生活的感受出發，並以局部或抽象的空間為背景。《回家》系列則以聖經裡種植物為文本，並將其意象建立在空間的角落中。《一個偏僻的日夢》系列是對生命存在的想像與渴望，對於空間的描繪則嘗試抽離，藉透明壓克力板回到環境自身。

關鍵字: 白日夢、外在空間、透視、內在空間、家屋、積極想像、意識流

Abstract
I developed a series of imagination from my daydream according to the house I used to live. These daydreams consisted of animal images expressing companions or symbolic identities to represent what the text intends to describe. Additionally, there was a close connection between the space of my home and my life.
In terms of external space there are the symbolic identities. I also analyzed the space based on the concept of perspective in my study. The discussion was about the origin and the history of perspective that. I applied to the paintings in my father’s studio, which was the industrial mapping/drawing methodology. Furthermore, I combined the grids and lines in my paintings, and I tried to create an integrated theater which contained all possible occurrences of the symbolic imagery.
In terms of the inner space, the psychological state consisted of space and symbolic imagery. According to the idea of “The Poetic of Space” (Bachelard G., 1994), I emphasized the role of my home as the protective and nurturing place for daydreaming. Also, according to “Active Imagination” (Jung, C. G., 1916), I placed my imaginations on pro-active position to awake the symbolic imageries, and allowed myself to indulge in the stream of consciousness. Besides, from Freud’s view, there are three periods of time for fantasy (Freud S., 1856-1939), which include the memories of the past, the present state, and the future aspirations. Throughout the process of analysis, I could gradually develop my own memories and symbolic mental state through imagery presentation.
There were four series in my creations. The first was “Base”, defined by the figures of my home and its surrounding animals, which brought me back to the first original daydream. The second was “Approach Slowly” which was conceived from my daily life experience, and which used the specific area or abstract spaces as the backgrounds; The third was “Home-returning” and was based on the various plants in the Bible, and built upon the symbolic imagery into the corners of space; The last one, “A remote daydream”, was described by the imagination and the desire of the existence of life. I used transparent acrylic boards to represent the phenomenon of attempting to pull away and detach from the space in order to return to the environment itself.

Key words: Daydream, External Space, Perspective, Internal Space, Home House, Active Imagination, A Stream of Consciousness

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