| Summary: | 碩士 === 國立臺南藝術大學 === 應用藝術研究所 === 105 === This introduction details the creative path I have taken since entering graduate school in 2013. The title of my thesis is “Fabrication Marks.” In Chinese the word “fabrication” is made up of two Chinese characters - “Yi” and “Zao” - that collectively signify the crafting of a subjective idea and the fact that my work is a product of the interplay between imagination (Yi) and creation (Zao). In this context, “marks” refers to the traces left behind when forging steel using a hammer. These markings are repositories of the emotion and physical effort expended and their accumulation through repetition which enables the object to take shape. Such marks involve not only the tiny, sharp nicks left on the surface of the metal from shaping, but also physical body images and symbols displaced as part of the piece.
The thesis is divided into three chapters. Chapter one “Primitive Body” opens with my university graduation work. Although the human body has an inviting appearance, it is ultimately a layer of lifeless skin. I am much more interested in the unknown and mysterious realm beneath. By exploring the invisible organs, and desires of the body I reflect on the real self. In chapter two, “Marked Body,” I strive to imbue the metal with inner negative feelings and pain through the raising process, while also discussing two artists whose works are similarly infused with a powerful sense of melancholy. Chapter three “Body and Container” departs from past creative types and experiments with previously unseen household vessels. The semi-closed nature of the pieces makes them an intriguing metaphor for the human body, the obscured inner space reminding us or our own voyeuristic desires. I compare the outlines of the containers to the contours of the body, simultaneously recording the flow of spirit and strength that defines the work process.
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