Inside Out: Researching on the Creative Process of the Object to Installation Art

• Main Authors: Liang, Li Ling, 梁莉苓
• Other Authors: Hsueh, Pao Shia
• Format: Others
• Language: zh-TW
• Published: 2015
• Online Access: http://ndltd.ncl.edu.tw/handle/3p94dm

博士 === 國立臺南藝術大學 === 藝術創作理論研究所博士班 === 103 === This study examines the first use of cubism on painting ordinary objects at the beginning of 20th century. The discussions start by evaluating the development of creative thinking and Installation Art, following by the current concerns on objects and the advancement of the creation of Installation Art, in order to construct and expand understandings on Installation Art. The present study seeks to explore three main areas: (1) Whether a dialog of intertextuality exists between the hundred-year history of the advancement of installation art and the development of the author's own installation art and other creative work; (2) An examination of the way in which, through the participation of visitors in installation art, and because the work is imbued with meaning by the artist, the work is transformed into a “relationship field” of interleaved messages; (3) An attempt to clarify the relationship between the author's own creative work and the evolution of installation art, so as to explore how the phenomenon of “inside out” operates between the artist, the audience and the work. The paper is divided into five sections. The first section (the Introduction) states the motivation for and purpose of the research, outlines the nature of the problem, the research methodology used, defines the key terms used, and the content and scope of the research. The second section (Analysis of the researcher's own installation art creation) focuses on the relationship between the author's creative work and the history and evolution of installation art. The third section (The work as an extension of the self) builds on the results presented in the second section to discuss how installation art furthers the development of artistic materials usage traditions, permits the defamiliarization of everyday objects, and creates “relationship fields” of interleaved messages, thereby opening up new possibilities for discourse regarding the extension of the self, and addressing the question of the response to the concept of installation art as a form of “inside out”. The fourth section (Installation art as a dialog space for intertextuality) links the author's own creative work with the history of installation art, and examines three key aspects of the “inside out” phenomenon - the significance of the exhibition venue, the creation of specific meaning from the exhibition venue, and the development of a dialogue space of intertextuality - to see how “inside out” emerges between the artist, the audience and the object itself. The fifth section (Conclusions) summarizes the results of the research in terms of the relationship of intertextuality between the hundred-year history of installation art and the author's own installation art creation. This section also analyses the development of installation art in terms of the concept of exhibition space to deduce a dialectical relationship between “site” and “non-site”; it considers how the interaction between audience and installation work allows the exhibition site to become transformed into an environment for the creation of audience experience, with the projection of specific memories belonging to the artist causing the public space in which the exhibition takes place to be transformed into a private space of personal memory, so that the work becomes a “relationship field” form of expression based on interleaved messages. Finally, the author considers how the concept of “inside out” emerges between the artist, the audience and the work, and suggests that “inside out” may actually constitute a field of significance relating to a “text within the text.” The main goal of the present study was to open up, through analysis of the author's creative work, the “collective unconscious” shared with other installation artists that is hidden within the author's subconscious, and to explore the historical aspect of the essence of the human being, and the latent potential for interaction and exchange between individuals based on “historical texts” or “memory texts.” Through this exploration, the study examines the relationship between the artist and their own experience of growing up, their socialization experience, and their creative experience, thereby seeking to understand the methods used by the installation artist to incorporate into the artist's own work the techniques and ideas that have accumulated over the course of the historical evolution of installation art. The paper adopts a qualitative research method. Apart from literature review and case studies, the method of hermeneutic circle was used, while the case studies adapt the concept of care of self. The methods used help readers to comprehend the dialogues between the self and the dialogues with self of the art creator, in order to create a relationship with the historical development of art by hermeneutic circle and make the creative work a text that is continuously coming into being.