| Summary: | 碩士 === 國立臺北藝術大學 === 造形研究所 === 93 === This study explores how an artistic creator illustrates the abstract concept of time through physical artistic works. The concept of time is revealed in a spiritual way by conducting ritualized creation activities within a fixed time frame. As revealed in the works, it is conveyed through imprint-like, coded and accumulated work units.
The ritual was conducted through repetitive activities of collecting, packaging, storing, and converting. These activities have been commonly seen in the love memorials collection and needle works by females home and abroad throughout the history of human kind. The artistic creator consciously chose this ritual as a form of creation with thoughts and cognition. Unlike laboring, these activities were consciously repeated and thus became a semi-religious, ascetic ritual. Bestowed with non-mundane and sacred meanings, the motive of creation was also originated from the knowledge and feelings of a female’s life experience. The whole activity was a process of self-awakening, self-recovery, and resurrection.
The “form/shape” of the following works is substantial. In terms of cultural comprehension, multiple meanings were attached to rectangles, such as steles, coffins, frames, boxes, cells, and written document. The symbolic meanings inspired the artistic creator to use rectangles as the “form/shape” of her works. Inside the rectangles were provided and bestowed with meanings by the creator, like specimen carefully chosen to be displayed in the windows, only the displayed part in the specific moment of time would be remembered. Usually transparent or semi-transparent, fragile and easily disintegrating materials were used to present a light, airy and semi-see-through visual effect, thus creating a contrast to the heavy emotions and accumulative mass.
The creative works must not be viewed merely through investigation of abstract concept and materialistic forms, but the audience also needs to explore the soul of the creation. Since human beings are born and raised in a society interwoven by interpersonal relationships, love is the most important and common emotion. Many females have produced love memorials according to their love experience or failure. In this creation, the objects of the creator’s love are her Mother, boyfriends (especially the one she had dated for 15 years) and herself. By using her feminine thinking, experiences, and love memorials collected from the past in this creation, the creator aspired to redemption and created a ritual in a hope to transcend the feelings. I rewrite Love in the form of creation, for myself.
Since the inward questioning and pursuit for self and life is the core of this artistic creation instead of the outward exploration phenomenon, it is obviously unnecessary and inappropriate to maintain a pseudo-objective, professional, and secondary role to comment and elaborate my own works. This dissertation is a narration of creation by the creator herself. In the following chapters, the first person, “I” (not just a “professional artistic creator”), and a feminine writing style will be applied for narration.
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