| Summary: | 碩士 === 國立臺北藝術大學 === 美術學系美術創作研究所 === 93 === The idea of “deification” is a sort of aspiration, whereas “surpassing secularism” is the physical execution of such a concept, and the amalgamation of the two forges a distinct conviction of life and living.
In my works the images come from two sources: actual living and aspiration, and hence the research subject of “transcendence”, which calls for fusion of dreams and actual practice: just as presented when the procedures of realising aspiration becomes the whole of living, the scene depicts the primary activities in real life; therefore, the depicted becomes the whole of life as well as the whole of aspiration. Aspiration is an expectation of the future, the very power that motivates living. When emotions are triggered the brain roams, and at a brink, can transport one into an infinite sphere, a tremendous leap from reality to infinity. Such power serving as the propeller of creativity is certainly liberating, freeing the individual from physical constraints, and thus my interpretation that aspiration is the essential manifestation of “seeking deification”.
Nonetheless transcending from secularism calls for physical execution in daily life that makes actual living a vital source to visual creations: it is the very element, the core of composition, and the course of a transformation. The course of an experience transfigures into graphics to become the subject of visual rendering. In recounting experiences where events become sweet memories transcendence is born. Yet the means of expressing views on life and aspiration is the choice of graphic manifestation. Thus Chapter II addresses the choice of old men as the subject and via visual construction illustrates the message intended.
Chapter III examines the approach of employing Tangka as the means of visual presentation in investigating the methodology and concept of infusing personal element in a traditional approach, and further illustrating the visual projection from the format of configuration of serial imageries and primary colours. Chapter IV explicates the concept of creating as a transformation of the inner thinking, a deifying process of living attitude, and as an examination of personality manifested via visual manifestation.
The object of the thesis is to delineate the author’s mental process in creating, and through the composition and visual presentation searching for relevant themes in history to give cogency to from the author’s interaction with the environment to visual presentation, and using which as a means of transformation, convey the visual core: investing manifested imagery with the life force from personal experience to render a deifying element to the visual as the ultimate expression of “transcendence”. Such expression is a visual reflection of accumulated daily living.
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