| Summary: | 碩士 === 國立臺灣藝術大學 === 美術學系 === 101 === Abstract
The title "Heteroglossia" of this thesis is an understanding to the concept of the artist's own creation. Different from the single authoritative mechanism of publication, "Heteroglossia" emphasizes the coexistence of differences and shares core values, multiple vocal meanings and perspectives. The article takes the concept of "Heteroglossia" as the core of thesis regarding the artist's series of works; it analyzes and discusses the structure of the works from three different spaces. The reason to focus on the heteroglossia in the thesis is to expect the writer, myself, to set forth the works beyond dual thinking, to expand the discussing scope of the works, and to prevent the use of political text in order to appropriately keep the ambiguous and neutral attitude.
I would like to start from the concept of clamor, to discuss and to trace back the connections between spaces, lines and symbols that I recognized during the personal creation process from the appearance of a work, and understood the truth in the real world by a broken, fragmented style: Different from the Naturalism highly praised by the traditional landscape paintings of the Song Dynasty, it's closer to the copied, recollected personal truth, instead of actual out-door sketching experiences. In short, the core concept of my works starts from the ink painting creation, attempting to discuss two or three kinds of spatial concepts which mutually exclude, undermine, destroy or heal each other during the creation.
The thesis framework focuses on the discussion of the work practices, and attempts to build some connections based on the discussion of spatial concepts and the cross-interpretation through pictures. I chose to understand my own works with masculine and feminine thinking was because they were the spatial differences I realized during the creation. I am trying to understand my creation scenarios and thoughts crossing this type of differences.
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