| Summary: | 碩士 === 國立高雄師範大學 === 美術系碩士班 === 91 === Abstract
The concept of “Boundary of Black” is neither to overthrow nor to disprove the original definition of black. This concept in treating black may be built in a converse way to rediscover black. Furthermore, by repeatedly disproving and clarifying the concept, the concept can be articulated its difference from another concept of “black and white juxtaposing in one bound”. In the same way, it cannot be limited in such concept as “Neither Black Nor White” or “Black and White Existing in common Object”. In fact, it doesn’t refer to “Middle Area”, “Broken” or “Transform” but is beyond the contrast and sensuality in we humans cognition.
“Boundary of Black” remains its characteristics of existing medium, an existence not being sighted. It is freely flowing everywhere in timeless universal with unlimited extent and possible altitude. Mystically, though it is beyond the state of bi-elements contrast, it marks itself through contrast. Therefore, the main title of “Boundary of Black” can be developed into such minor titles as “A Seed in Mountain Hsu-Mi”, “Boundary Beyond Black and White”, “Flowing Speed in Inflowing Stream”, “Space in Empty”. The articulate outline of the concept can finally be achieved through observation in comparison with the other works.
Based on this concept, the performance of arts is to create a non-concert object through the abstract or illusory object. Therefore, the originally sticky concept would start flowing. A hard solid stone can be soft like water or a flake of could; black can reach its poetic bound like a piece of white silk. When works are formed into an unformed or brief code, an inner significance of non-concert object is naturally displayed. All forms of lives can be naturally created in the common phenomenon by dismissing the pretended boundary between organism and non-organism and searching for the common phenomenon.
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