本論文是我從2018至2020年之間的創作論述和研究，以家庭環境影響人格為開端，從人格塑成到將近定型後，對於外在環境的認知開始產生的一些反應，認真的感受關於自己是誰，藉由與創作和製作素描草圖的過程對話，配合文字的輔助，來幫助釐清複雜的思緒。

　　本論文分五個章節，第一章「緒論」闡明研究動機、目的及創作程序，以確立後期的創作狀態。第二章「與筆痕遊走的自我意識」以瓊．米謝爾（Joan Mitchell）的介紹為開端，詳談她的繪畫與身體性的關係作為提點，並提出瓊．米謝爾的動勢筆觸特點，接著提出塞西莉．布朗（Cecily Brown）的創作和繪畫模式，研究分析及思考各階段的創作內涵。第三章「殘缺的肉塊」說明一件作品的完整創作過程，從草圖至繪製作品到完成的狀態，並且針對草圖做出一系列的釐清和整理，說明草圖對我創作的重要性。

　　第四章依照創作時序，說明作品以「身體性」之感受作為創作之命題，影響作品的思維及變化過程，進一步整理出創作形式與自我創作脈絡。最後於第五章歸納出本論文研究的結論，總結於這階段的創作中，創作形式的推進與變化，透過創作與不了解的自我內在對話，了解我是如何存在著，最後思索系列作品在未來創作上的發展與通往未來創作上該如何往更深層的方向推進。

This work incorporates the creative discourse and researches I conducted between 2018 and 2020. It begins with the influence of family environments on one’s personality. As ones’ personality shaping nears completion they would start to react in accordance to the understanding of the environment and sense who they are in a serious manner. One would be able to communicate through creative work and the making of sketches and drafts with the assistance of texts to clear up complex thoughts.

This thesis is divided into five chapters. The first chapter, "Introduction", clarifies research motivations, purposes and the creative procedures in order to establish the state of creation in the later stage. The second chapter, “The self-conscious wonder with touch”, begins with the introduction of Joan Mitchell and a detailed discussion of the relation between her paintings and the body. This part also mentions Joan Michel's brushwork movement features. It is followed by the presentation of Cecily Brown's works and painting methods as well as the research and analysis on the connotative meaning of her creations in each stage. The third chapter, "The incomplete body", explains the complete process of creating a work of art from drafting, drawing and completing the work. This section also illustrates the importance of drafts for my creative process through a series of interpretation and assembly specifically on drafts.

Chapter 4 explains sequentially the creative proposition based on the "physical" feeling and its influence to the thinking process and changes in creative works. This section further compiles the form of creative works and the context of self-creation. The fifth and last chapter concludes this thesis with a summary of the evolvement and changes to the form of the creative process in this specific stage. And through the creative process one is able to conduct dialogues with the part of inner self which is yet to be understood, comprehend how one come to exist, and finally contemplate the development of creative work series in the future as well as how to develop future creative works in greater depth.

中文書目
何政廣編著，《世界素描傑作選》，台北市：藝術圖書出版，1977。
許佑生著，《跟自己調情－身體意象與性愛成長》，台北市：心靈工坊，2003。
潘娉玉，〈當代素描複合性發展的軌跡〉，《藝術家》，439期，2011年12月，頁258-267。
蘇俞安，〈想像素描的下一步〉，《藝術家》，439期，2011年12月，頁248-253。
Meyer Rolf，《藝術名詞與技法辭典》，貓頭鷹編譯小組譯，台北市：貓頭鷹出版，2002。

英文書目
Cecily Brown, Where, When, How Often and with Whom, Humlebæk: Louisiana Museum of Modern Art, 2019.
Claire Jamieson, NATØ: Narrative Architecture in Postmodern London, New York: Routledge, 2017.

網路文獻
教育部重編國語辭典修訂本，<http://dict.revised.moe.edu.tw/cgi-bin/cbdic/gsweb.cgi?ccd=BzeQv9&o=e0&sec=sec1&op=v&view=0-2>
Ella Coon, “CECILY BROWN: MASTER OF HER REHEARSAL”, International Art and Culture, <http://sfaq.us/2016/11/cecily-brown-master-of-her-rehearsal/>
Joan Mitchell foundation, <https://joanmitchellfoundation.org/work/artwork/cat/paintings?fbclid=IwAR08WbQOM6gh08muhORPftY6sEHA0w8pCu3EGoMfup7p_p9fGQHb2rKpupU>
Paul Rust, “Cecily Brown’s Show at Paula Cooper is a Perfect storm”, <https://garage.vice.com/en_us/article/qv38yb/cecily-brown-paula-cooper-gallery>
Tate Modern“Art dictionary”,<https://www.tate.org.uk/art/art-terms/d/drawing>
Rachel Wezler, “Now I can steal from myself as much as from other artists’-an interview with Cecily Brown”, APOLLO, <https://www.apollo-magazine.com/now-i-can-steal-from-myself-as-much-as-from-other-artists-an-interview-with-cecily-brown/>