| Summary: | 碩士 === 國立臺灣師範大學 === 美術學系在職進修碩士班 === 101 === Detached from the ontological concern, I find that I have strong sentiment with grass. With the attachment to Nature, the grassland of my home serves as the origin of the present creation research. Grass and the banana leaves are the essential element that penetrates the origin and ideas of my painting.
The framework of the thesis is: (1) the spirit of creation and the thematic discussion; (2) the form of creation and the investigation of skills; and (3) work analysis and the content interpretation. The scope of the research begins with the year of 2010, the time of the first year of M.A. Moreover, grass is the prominent element of the research, and then links it to the series of artworks thematically concerned with banana leaves. With the practice and the theoretical analysis, the researcher seeks to reflect on both the two elements—i.e., grass and home love—and the construction of the fantastic field of mind.
Chapter I, Introduction, clearly outlines the motivation and purpose of the research, methodology, and the scope of research.
Chapter II begins with the mind of freedom of romanticism, and then seeks to build the self-awareness of the subjective creation. Based on Sigmund Freud’s concepts of “spiritual landscape” and “minimalism,” the thematic probing transforms from “home – grass land – banana leaves” to “the fantastic field of the mind.” Hence, influenced by the western art, my works sometimes reveal a certain notion of western art or its art techniques. Through exploring and taking care of Nature, I find that the definition of painting is not merely to pursue after the external figure of the object. Instead, the whole process begins with the intimate access to Nature and the romanticism that aspires after Nature, referring itself to the fantastic field of the humanistic social mind. Through the imagination of romanticism, I attempt to create metaphoric works, which allow the spectators to imagine and correspond to.
Chapter III probes the aesthetic form of my whole works of the thesis as well as my habitual realistic technique. I argue that the grasp of form is necessary, though the importance of color variations used to express Nature through greasepaint. Hence, as the expression of the landscape is concerned, the sentiment and the sun changes of the time are important, but the basic skill required in the realistic neo-classism is never negligible.
Chapter IV focuses on the practice of the work, and then deepens the discussion on the works based on two themes: grass land and banana’s leaves.
Chapter V attempts to conclude the research creation and exhibits the possibility of the future work.
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