本論文主要探討我的2021至2025年間創作歷程，從平面繪畫逐步轉向繪畫型拼貼與複合媒材的實踐，持續以家屋及家庭記憶為出發點，探討個人與家之情感和經驗所轉譯的視覺語言，在碎片、重組的演練與推論中，尋找創作的觀點。論文共分為五個章節：

第一章「緒論」，論文開篇闡述了研究動機與目的、研究內容和研究方法，書寫自己的創作歷程。從「家屋」的觀察回扣到個人與家庭的記憶，試圖以創作回應內在情感的碎片化與記憶重構。家屋的物質痕跡，如潮濕、壁癌與剝落的油漆，如何成為喚起童年記憶與情感投射的觸媒。

第二章關於「家」的層層疊疊，從加斯東・巴舍拉(Gaston Bachelard ,1884-1962)的《空間詩學》展開，探討以家為核心，從空間觀察、記憶的召喚到情感的體驗，將個人與家屋間的連結具體化。並加入「重寫本」( Palimpsest)概念、舊相片的使用來說明記憶在作品的詮釋。在個人經歷與創作實踐中，從藝術史的「解拼貼」發展與多位藝術家的實踐，如雷蒙德・海恩斯(Raymond Hains,1926-2005)、米莫・羅特拉(Mimmo Rotella,1918-2006)等作為參照，而後從當代藝術家馬克・布拉德福德(Mark Bradford,1961—)創作中，進一步說明透過撕貼、重構與多層次材料處理來呈現記憶碎片的藝術可能性。

第三章「零碎與重組」，這一部分著重描述創作手法的演進，從繪畫的筆觸堆疊推進至「貼」與「撕」的複合媒材技法，仿若記憶在時間中的覆蓋與剝離，片段化、破碎後再重新拼湊的敘事。
第四章「碎碎唸」，重新拾起記憶的碎片，以對過往經驗的再詮釋，將其視覺化為核心的創作主題。挑選出在創作實踐中具代表性的作品加以再行文當中剖析。最後。

第五章「結論」，綜合前文討論，同時展望未來創作發展，期許能在不斷的實驗與探索中，持續深化對記憶與物質材料關係的理解。

This thesis focuses on my creative journey from 2021 to 2025, which evolved from two-dimensional painting into a practice incorporating painterly collage and mixed media. Anchored in the themes of the house and familial memory, my work explores a visual language that translates personal emotions and life experiences related to “home.” Through practices and inquiries involving fragmentation and reassembly, I seek to uncover new perspectives in art-making.
It is divided into five chapters. In Chapter One, “Introduction,” I outline the research motivation, objectives, content, and methodology, while narrating the trajectory of my creative development. I begin with observations of the house as my home—as a link to personal and familial memories—and attempt to respond to the fragmentation of inner emotions and the reconstruction of memory through artistic practice. The traces of the home in the work—such as dampness, wall damage, and peeling paint—are examined as catalysts for evoking childhood memories and emotional projection.
In Chapter Two, “Home,” I appropriate the layered meanings of “home” through Gaston Bachelard’s The Poetics of Space, exploring the relationship between space, memory, and emotional experience. I develop the connection between the individual and the house by incorporating the concept of the "palimpsest" and the use of old photographs, which inform how memory is interpreted within the artworks. Drawing from both personal experience and studio practice, I reference the history of décollage in art—particularly the works of Raymond Hains (1926–2005) and Mimmo Rotella (1918–2006)—as well as the practice of contemporary artist Mark Bradford (b. 1961), to explore the potential of torn surfaces, reconstruction, and layered materials in visualizing fragmented memory.
In Chapter Three, “Fragments and Reassembly,” I focus on the evolution of my techniques—transitioning from layered brushwork in painting to the use of pasting and tearing within mixed media processes. These methods metaphorically reflect how memory is layered, eroded, and reconstructed over time: fragmented and broken, then pieced back together in narrative form.
In Chapter Four, “Rambling,” I revisit memory fragments and treat the reinterpretation of past experiences as a central visual theme. Representative artworks from this period are analyzed to demonstrate how these concepts manifest in practice.
In Chapter Five, “Conclusion,” I synthesize the discussions from the previous chapters and look toward future directions in my creative work. My intention is to continually deepen my understanding of the relationship between memory and material through ongoing experimentation and exploration.