| Summary: | 碩士 === 國立臺北藝術大學 === 美術學系碩士班創作組 === 104 === Touch, a deep sense of awareness which I can''t pinpoint. Making it so that my works have a strongly intertwining and intimate relationship with my sense of self. Vision, through my eyes, the abstract thinking resulting from observations of things which occur, collecting rays of light and life experiences to bolster and enrich my creative capabilities. Therefore, in my opinion, the provocation of touch and generation of visual perception are inseparable. After continuing my studies, I began to ponder upon the uniqueness of ceramics. I began to experiment with and explore the special nature of the ceramic medium. Through the shaping of clay, touch is used to create a desire for the female skin. During this process, I sought to slowly shape these objects and create a stimulating effect through a caressing motion. To me, the object itself is like the pure body of a women, who is in the process so fragile yet so intimate; nevertheless, there is a widened sense of distance after the completion of the work.
This paper is organized into six chapters :
Chapter 1 - Retracing : Provides a brief description of how my fascination with, as well as the pursuit and entrusting of myself in the female body sparked my creativity while also describing how I was able to manifest sexiness and lust in the texture of the material through my explorations during the materials training phase.
Chapter 2 - Haptics : Discusses the use of phenomenology to analyze the abstract relationship and dialogue resulting between me and my sculptures during the creation process. Using my feelings toward the ceramic material, as well as perception and intuition to convey the closely intimate yet distanced affair-like relationship between me and my works. Thereby demonstrating the tension between the pure inner nature and sensory first convention.
Chapter 3 - Pure Imagination : This chapter introduces my thoughts and performance in regards to my use of sculptures as the material for my ceramic works, while also elaborating on the influence of each aspect from how the miniature containers and utensil at the beginning were presented to the understanding of minimalism and the representation of geometric abstract on my work. Then also describes how the relationship between sculpting, space, and light, caused me to reshape a type of purer imagination and creativity.
Chapter 4 - Possibilty of Obtaining Spirituality : Describe my everyday observations, the influences of the connection between poetic wisdom, sensations and subconscious aesthetics on my creations during my travels, then inspiring artistic creativity through a heightened sensitivity to things surrounding me in my everyday life.
Chapter 5 - Artists Referenced : By analyzing the works and concepts of Morandi, Hiromi Itabashi, and Brancuși to correspond with the relationships and influences between each phase of my work in regards to form, subject and content.
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