Parallel Sight of Cityscape

• Main Authors: Su, Feng-Ming, 蘇風銘
• Other Authors: Cheng-Jen Chang
• Format: Others
• Language: zh-TW
• Published: 2009
• Online Access: http://ndltd.ncl.edu.tw/handle/2yk364

碩士 === 國立臺北藝術大學 === 美術學系碩士在職專班 === 97 === All the time, 「concrete」 and 「abstract」 are the important categories in painting. It seems to choose either this or that while painting. Abstract painting, a kind of choice of binary, faded away due to the consumption of form in modern art history. Then it started to carry the original sin of breaking the connection to the real world. This is not a favor in contemporary art that always focus on concept. Especially to an artist who deals with abstract paintings, it is necessary to understand and respond this kind of situation. There looks like an effective way to do is appeal to the combination between idea and form. It is because that human always needs some kind of formation for transmitting meanings. The chapter one discussed the idea of 「concrete」 and 「abstract」. I tried to address my viewpoints that concerned the doubt and limitation of them. In chapter two, I looked back the development of abstract painting in modern art history, also surveyed the Formalism in modern aesthetics history. Then I made my description of abstract painting. In chapter three, I described some background concerned with my works, and brought up the contemporary paintings after 1970s for observing abstract painting. Then chapter four caught up the discussion of image related to contemporary issue. All of them combined with my works lead to the main concept of chapter five which connected to “parallel sight of the cityscape”. Finally I tried to provide some ideas about artistic works for follow-up creation in the conclusion. Also I noticed that the image issue in my creation is not enough to reveal the conscious manipulation which may be behind it. This is also an inspiration for my future artist’s career.