| Summary: | 碩士 === 國立臺灣藝術大學 === 造形藝術研究所 === 94 === Paper abstract
The work is based on the idea that the formal icons present the subject of self-awareness. By taking fashionable articles as elements for creation, it investigates the discrepancies between art and popular culture and the rival relationship between consumption and counter-consumption. It is at the same time a legacy and reconsideration of Pop Art. The work derives its theme from the variable phases of popular culture so as to reveal the philistinism that is in fashion. Moreover, the painter’s thought that the public have been materialized is infused in the work. It suggests the hyperbolism, paleness, illusion, and absurdity of the modern world, which weave a web that is inescapable. It involves the painter’s concern for life, and life itself has thus become the main source for art creation.
The thesis is titled “The Consciousness of Icons,” which refers to the mental activities of human beings, such as self-awareness, consciousness, pondering, and memory. The subtitle “Representation of Fashion” focuses on the thinness, shallowness, paleness, and flatness of fashion. The chosen medium, oil painting, attempts to emphasize the dialogic relationship between subjective consciousness and objective articles, and between icons and materials.
The way I created the work can be divided into three main points:
1. Juxtaposition: focal points and substantial objects.
2. Summons: eye and facial expressions
3. Space: piece and combination
The main issue of the serial works is the displacement and various aspects of pop culture and the public.
Individuals are suppressed in the lowest level of the trend of fashion, and thus get lost in the cultural jungle unconsciously. Life is the Muse of my work. With the form of two dimensions, I regard art as a way to express my personal experience. It is hoped that my artistic creation can reach an advanced step and more possibilities would one day come true.
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