| Summary: | 碩士 === 國立臺灣師範大學 === 美術學系在職進修碩士班 === 102 === The wall philosophy was created by the author to perform virtual reality with composite materials. Various kinds of wall surfaces look robust, every inch of it feeling historical and vital. It aims to explore the incidentally virtual reality of space and material in the city and nature, which ranges from two to three dimensions, and from artificial to real objects. Through the evolution from microscopic aspects, in-position viewing, and field of vision, the gaze of a corner attended by nobody can find out the time vestiges in the nature and artificial environment. These vestiges on materials are the scenery of time. The artistry based on the qualitative change of walls, cliffs, precipices, and plants, interprets the slow and aggressive characteristics of history: one faint motion looking like stillness. In the living environment and during the creation process, if we constantly gaze at and think about the encountered outer world, we will build up communication between that world and our inner mind, apprehending the principle of evanescence and the sense of mutual prosperity of all living beings. Such sense is interpreted via creation, with a hope to naturally observe various kinds of walls. Besides, the new material of modern composite will be used as the interface to elaborate the uniqueness in Buddhism and in Laozi and Zhuangzi thought of Taoism. The creation expresses the both virtual and real image in the author’s mind to illustrate the delight of all walls with scrutiny and in a microscopic way.
The format of creation includes two artistic works: graphic composition and stereo device composition. The final product of graphic composition is presented as the combination of digital output and real objects to emphasize the image of virtual reality. On the other hand, the stereo device composition is presented as the combination of real objects to create and show in space the semi-natural texture, scope, and conception of virtual reality. The author illustrates the image on the basis of "the symbiosis of existence and non-existence,” "the interaction between abstraction and concreteness," and "the combination of truth and falsehood” in Chinese aesthetics. Skills of Western Neo-Expressionism are used to express the scenes and objects in the work to establish the dancing space of visual aspect. As for the molding of spatial effects, composite materials and the real-virtual methods are adopted to present the image from two to three dimensions through three stages.
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