To Love Secretly- Chiung-Fang Chang’s Art Thesis

• Main Authors: Chiung-Fang Chang, 張瓊方
• Other Authors: Mei, Dean-E
• Format: Others
• Language: zh-TW
• Published: 2009
• Online Access: http://ndltd.ncl.edu.tw/handle/17047633966416756124

碩士 === 國立臺灣藝術大學 === 版畫藝術研究所 === 98 === Abstract This study uses five chapters to construct the central thought and direction of exploration of the creative artist in stages of art development. The scope of research covers drawings and prints between 2006 and 2009. This study hopes to analyze artwork composition to form new ways of viewing oneself and adding complexity to one’s artistic creations. 　　 Research scope and content includes Chapter 2’s exploration of academic theoretical basis, which primarily uses analysis, summarization, collection of related works and theses to explore the artwork images. Section 1 discusses the game play character of drawings through discourse by scholars of aesthetics, Spencer and Schiller, as well as related scholarly thought, enhancing the importance of games in artwork. Section 2 discusses intuitive language, and organizes discourse on intuition into charts, combining them with experiences in creating artworks, emphasizing that intuition is an important concept in artistic creation; experiences through intuition are accumulated to achieve psychological activity that uses the heart to know the world, and this is extended to artistic creation. Section 3 discusses the influence of graffiti aesthetics through ideas and forms in works, and extends to a discussion about graffiti art and the influence of surrealism. Chapter 3 on creative beliefs attempts to use analysis of drawing language for a systematic organization of works in the series, combining them and summarizing them to discover original thoughts among them; then subjective ideas are used to create individualistic works, analyze meaning represented by these elements of drawing in the works, in order to better realize thoughts implicit to the works. In this chapter, Section 1 on space and perspective are discussed in terms of imagined space, abstract, and reality; Section 2 on deconstruction and reconstruction; Section 3 on symbolized subconscious signs; Section 4 on diverse styles. Chapter 4 on incomplete fragments systematically categorizes artworks and analyzes them one by one; Section 1 on “It Drawn by Me,” Section 2 on “Mumblings,” Section 3 on the utilization of creative techniques. Chapter Five is the conclusion