Tracing: From Others to Micro-gridsInstallation Art of Chang Ming-Hsi

• Main Authors: Chang Ming-Hsi, 張明錫
• Other Authors: Te-Chen Lien
• Format: Others
• Language: zh-TW
• Published: 2013
• Online Access: http://ndltd.ncl.edu.tw/handle/63144759889772788032

碩士 === 國立臺北教育大學 === 藝術與造形設計學系碩士班 === 102 === The theme of this research is “Tracing: From Others to Micro-grids”. Installation art is the format used here for exploring ideas inspired by the association between self-existence and environment. Furthermore, the author combined styling, light, shades and colors to express such association. The study objectives are as follows. Using roaming-like tracing movement as the foundation and assuming himself an outsider, the author observed the urban environment and took a micro-scale attitude to sense and experience thoughtful feelings. Next, grids were used to record and express the heart and the conceptions of the theme, which were viewed as the connotation. The author’s impression was presented using light, shades, colors, and spatial arrangement. Tracing is a mark left behind and a dream that is fading and vague. It is not only a mark or a stamp but a mirror image. It is what is joining me to a similar me. Tracing is a type of thinking and a place about losing oneself and reconfiguration. It is about the similar me shouting at me, a wanderer, and guiding the wandering me to the path of my own. Tracing becomes an eternal hidden memory left somewhere. For me, it questions the value of life. The ceaseless wandering from land to water hits my heart from various angles again and again, like weaves one after another. Riding a bike and chasing after the wind, I look forward to heading to a certain street. When I wander to a place that elicits a sense of déjà vu, such a point where my soul and spirit meet can always touch my heart. When floating on a waterway, I would stop and look at the place where my heart gets stranded and feel sentimental about the place. My memory and my obsession can only be explored by tracing. As for wandering around, it helps me survey the environment with feeling and make me naïve no more. With age, I can see more clearly. This thesis is a creative dissertation and its structure comprises the following components. First, there is the beginning, which is an enigma about “others”. This part includes the research motivation, background, research methods of creation, and definitions of terms used here. The second part, continuity, is about mirroring “others”. In this part, the author discussed the theoretical foundation of “Tracing: From Others to Micro-grids” and interpreted the theme from an aesthetic viewpoint. The author also presented artworks of Western and Eastern artists for inspiration and references. In the third part, the author talked about craftsmanship of “others”. The focus was placed on creative connotation, form analysis, and creative symbols and signs. Fourthly, the author summarized by presenting the conditions of “others”. This was done by introducing the artworks of the creator himself and details about these artworks. The last part is about expectation for “others”, and here, the author reviewed the creative process and offered some outlooks. There are things that cannot be immediately understood. You need hands-on practice as well as trial and error to solve the puzzle bit by bit. After all, chances and efforts are part of growing pains. While I am still obsessed with tracing, my urban dream has burgeoned from my wandering path. What is the opposite end of this grid-like labyrinth?