Stranger than Nnostalgia

• Main Authors: Lin Li-Li, 林莉酈
• Other Authors: 詹前裕
• Format: Others
• Language: zh-TW
• Published: 2012
• Online Access: http://ndltd.ncl.edu.tw/handle/38680941809930776669

碩士 === 東海大學 === 美術學系 === 100 === Creation is a process in which to draw a closure, a process of self realization, in the sense that the creator has to endure one obstacle after another, and, to construct a creative language of his/her own during the process. Consequently, the Introduction depicts the younger generation of glue color painters in their attempts to develop the type of glue painting/Asian Gouache that follows one’s true inner self while staying in coherence with the Chinese painting traditions and spirits when involved in the whirlpool of history and modernity, as well as tradition and innovation. Further, observations are being made regarding the current development of glue painting/Asian Gouache within the academia and the interplay of glue paint and black ink, as part of the advanced exploration on how to draw inspiration and nutrients from a tradition of conceptual painting; the endeavor is to spark off further possibilities in creation. Chapter II describes the impact of experience on creation from the spiritual and material dimensions. Materially speaking, one’s personal perspectives on life will determine the choice of subject matters; a minimalistic real-life experience will drive one’s choice of creation materials towards a ‘less is more’ concept. As for the spiritual orientation, Idealism manifests itself in the way the world is viewed, and the blurred undefined borders seen in creations are derived from the uncertainties in how to view the world. Chapter III enters the main narrative of the alien urban landscapes and expounds on the modernized urban non places. Such public space illustrates the impact of western culture on oriental societies. The rapid exchange of free-flowing communication and capitalism are drawing urban landscapes towards mutual assimilation, hence the root of my creation that looks no further than the everyday life as presented in front of my eyes. The Preface explores certain events, timings, places and objects, and then traces pivotal figures that have influenced my creation: the Japanese painters, Yuki Ogura and Yuko Lida. These two artists lived one century apart, used different materials for creation; one was engaged in Zen practice and the other was engaged in traveling; both drew inspiration from life experiences with unique third-eye appreciation. Chapter IV presents analysis and critiques of works according to subject matters: man-made landscapes and spirits; reminiscence and nostalgia, along with rudimentary graphic illustration to examine the trajectories of creations. Fundamentally, these works are unassuming, exhibiting nothing extraordinary, and yet are embedded with my thoughts, my angles of viewing the world and all the impasses in between. The ambition behind each art creation is usually rooted in tradition, while rebelling against it at the same time, contemporary East-Asian art development being one case in point. What we have here is a JinGuZhou (a ‘headband of curse’ as worn by the Monkey in Journey to the West) which can only exert its power when worn on the head. All the while, the aim of my efforts is to remain oblivious to the ‘headband’, to forget its presence.