Black water opaline stone

• Main Authors: Nan-Kai,Chao, 趙南開
• Other Authors: Ming-Twen,Shiau
• Format: Others
• Language: zh-TW
• Published: 2016
• Online Access: http://ndltd.ncl.edu.tw/handle/5f8jcg

碩士 === 國立新竹教育大學 === 藝術教育與創作碩士班 === 104 === The author believes that the foremost priorities in art are autonomy, heritage and independence. In other words, the cultivation of individual style and technique. Brancusi left Rodin’s studio after just one month, stating: “I refuse (to study under Rodin) because nothing grows under large trees. ” His words accurately illustrate the problem with the apprenticeship system--the students’ work often shadow that of the master’s, and resemble that of each other’s. As a learning system, such an environment is too confined and conservative to inspire any break from the norm, let alone courage for the avantgarde. This is why the autonomy on which the author insists, is in fact the ability of independent, critical thinking, and the capacity to autonomously handle and manage the different stages and timeframes towards the copletion of a creative project. Heritage, on the other hand, is the macrovision and absorbtion of the professional realm and medium, making use of the characteristics of the materials and techniques, widening one’s perspective and methodologies. In such, independence can help avoid repetitions in method and theme. The Black Water Opaline Stone serries embodies the author’s perspecitve on the natural environment and essencialises his experience thereof, interpreted through the medium of glass, while seeking a different language for the medium through a painterly approach. This artist statement concentrates on the period between 2014 and 2016, during which the author returned to an academic environment to research and develop his creative theory of the secondary surface and painterliness. During these two years, the author focused on the use of opaque glass panes, not only in search for painterly possibilities, but also seeking to provoke emotive reactions through the use of nonemotive colours. The purposes of this study are: 1. Discussion of performance glass painting; 2. Discussion of diverse mediums glass face style; and 3. Creation Black water opaline stoneseries of works , in expressing the nonemotiveness of the artwork.Since the subject of the study is essentially the potential of the medium, it does not solely consist of theoretical research, but also a multitute of technical experiments. Thus, the author aims to refine his capacitieis in both artistic and technical acomplishments, pushing the boundaries of glass art, and making a positive impact in this field.