More than Body- the Expression of Body Perception

• Main Authors: Jiang-Ze Joung, 鍾江澤
• Other Authors: 曲德益
• Format: Others
• Language: zh-TW
• Published: 2009
• Online Access: http://ndltd.ncl.edu.tw/handle/yk3x4j

碩士 === 國立臺北藝術大學 === 美術學系美術創作碩士班 === 97 === Summary For me, painting is an impulse or outlet for performing emotion, meditation, and desire. Both happiness and worry are presented by painting in a joyful way. It is the reason why I create by painting and painting is also good at presenting. Habitually, the strategy of the outlet is not like a trickling stream, but the accumulated explosion and torrent. Obviously, painting is individual and mental for me, related to my individual bitterness and happiness. It is my monologue. Therefore, I create impromptu without referring to any objects, leaving and ignoring the visible world. “Care nothing about the external world when painting. Just look at my own mind and create the dark space of consciousness. Extinguish all the disturbing fire outside. The fairies in my mind fly out as images.” How will works communicate, match, and be realized by others this way? Of course, the interaction does not happen in visible places, in the external world, or in the material world. It happens in the common mental experiences. One can hear the dim melody in the depth of the spirit quietly only when he draws without looking at anything, draws nothing, and excludes the external turmoil. The instantaneous inspiration reflects the self at the moment, making the painter introspect and recognize himself. The mechanism which represents the inner voice by images sounds like the strategy for understanding unconsciousness in psychoanalysis. For example, by children’s painting or artistic treatment, others may find the traces of unconsciousness based on the images in the painting. “More than body” series expresses strong bodily implications. Something happens to the body and to the spirit phase by phase. Determined by the process, it is divided into two phases, the former “Projection” and the later “liberation.” This is not an absolute division. Both phases happen alternately or simultaneously. The temporal difference indicates the logic, cause and effect of the mental operation in creation. In the former phase: standing before the canvas, the painter must stand and draw so that he can be as tall as the painting. By gazing the canvas as tall as oneself, a specific bodily consciousness of the painter is aroused. He perceives that his being and the canvas generate a tension, correspondence, and coexistence. I call it as a “Hit,” a “Hit” between my body and the canvas. It is the source of the specific bodily implication owned by the “More than body”. “Hit” happens in the whole creation process and gives birth to the “More than body” series. It is the basis of the “More than body”. The “More than body” is build upon the bodily implication. In the “Projection” phase, “Hit” is the basis. Consciously, the body generates the “projection of my own body” to the canvas and presents the virtual body in the painting at the same time. The body is static, feeling the projection by “gazing.” The painting method is called as “Projection” here. The later phase: after the basis, “Hit,” creates the virtual body, the “virtual body” in the painting generates the image of “the scurry of the style of drawing.” At the same time, consciousness and spirit also feel the “liberation and transcendence.” The body must draw the painting dynamically. The painting method is called as “liberation” here. The “projection of one’s own body,” “virtual body,” and “gaze” happen simultaneously in the former Projection phase; the scurry of the style of drawing., spiritual liberation, and drawing happen simultaneously in the later “liberation” phase. “Virtual body”: in the “More than body”series, the figure as big as a human body in the center of the painting which appears again and again is like a ghost. Sometimes it is a tree, sometimes a person. “the scurry of the style of drawing.”: the dynamic shape and drawing style of emanation and explosion presented in “virtual body.” “Projection of one’s own body”: the canvas is about 180 cm². The human size and the square shape are for arouse the consciousness of bodily images. Bigger canvases can’t make it. A dynamic human body is like a square (when arms are stretched). It is convenient for me to draw and for the watcher to get merged into the painting. In the creation process, the canvas is standing. When I am standing in front of it, my body is included inside it and “Hit” happens. In this way, my body seems to be in the canvas. It arouses the image of my body in the canvas, projecting my body like a mirror. My body gets into the painting and forms the “virtual body” in it. The two-dimensional canvas where the pigments stay represents both body and spirit simultaneously and transcends them in the space of body and spirit. “Liberation , Joyfuland and Ecstasty”: when I notice my own body and find it is obviously an individual being, I feel it is cut off from other objects in the external world. The body I feel is just the soma supporting my life. The mind I perceive is just my own consciousness. These result from my own body and mind. Through visual meditation, I imagine the figure of my body. It looks so lonely and limited. Because of the limited body, the impulse for liberation and transcendence is aroused. When painting the big-size canvas, the body is moving and having dynamic drawing style. When the body is moving, the “virtual body” (tree or human figure) projected by the body into the painting is also expanded to the outside of the body. These dynamic drawing style and figure look as if the work “spins at high speed and projects alpha rays.” The rays projected from the spirit are the “the scurry of the style of drawing” in the painting. There was strong solitude which caused the desire to seek after the infinite expansion of spiritual liberation. The solitude is a feeling that: “I perceive my own consciousness and see my vision only. Even if I talk to others, I can’t perceive his consciousness. The only thing I can do is just guess. I meditate only with my own brain. Even if I can perceive the whole universe and see the whole world, I use my own eye and consciousness only, never correlating to any of others. It is never possible to see with others’ eye, to perceive the world with others’ consciousness, or to meditate with others’ brain. I feel certain almighty solitude, the biggest, extreme, and absolute solitude. It is an incurable poison and disease. Nobody can remedy it. One is imprisoned in the individual jail of consciousness even he exists in the universe. Isn’t the human body in the same situation?” The “virtual body” and “the scurry of the style of drawing” visible in the painting look like the direct evidences proving the existence of the invisible “projection of one’s own body” and “Liberation , Joyfuland and Ecstasty” in consciousness. It is the best explanation for the “virtual body” and “the scurry of the style of drawing” visible in the painting. “Gazing in from of the canvas” and “moving and drawing”: both of them are the postures presented by the relationship between the body and the canvas.