| Summary: | 碩士 === 國立臺北藝術大學 === 美術學系碩(博)士班 === 107 === This thesis aims at analysing the performance-videos I produced from 2014 to 2017. Based on those characters I imitated, I tried to draw a line - or a laceration - by geographical location and thus put those references into context. Comparing to methodical and logical clear pattern, to be honest, my creating method draws closer to a kind of chaotic - or logical caper - the way of discourse also is restricted in kind of non-depth self-philosophy condition. In order to solve this fault, I convince myself to describe my previous condition, and see how it became my ideology; how could a chaos could be possible.
In further I consolidate three orientations - collage; performativity and naming conventions. Firstly I’d try to describe my thinking that how I imagine film frame as painting in the chapter The Surface of collage, and also overlap the logic of collage in painting history with signs I used in Videos. Secondly the chapter The Method of Truth Study extending from The Surface of collage, it contains the research of mappings in my works, and each single mapping connects with different Character in film, and reflect to the event in geographical location. The mappings will combine different types of archives such as culture history; news and signs, and the interrelationship among all of them.
In the chapter of The Work Report of My Reenactment - Discussing the repeatability in performances, I will describe how the definition of performativity turns in my videos. Meanwhile, I will explain the reason why I kept denying myself, my intention to destroy the concept that gradually getting clear in various chapters. This is particularly crucial to me, it shows how it connects my own mission to be an individual. After explaining different parts of meanings which are from my videos, I’d try to conclude that why I refuse to be defined as the word “gay artist” and how it could be after going through this determination.
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