無所在—張家荣「記憶捕捉」創作研究

Abstract

本研究以「無所在」為核心主題，選擇泰雅渡假村、臺東池上地區與羅東林場作為田野實踐場域，這些地點各自承載著不同時代與生活脈絡中的文化記憶與地景變遷。筆者關注的，不僅是記憶本身的再現，更重要的是探討創作者作為轉譯者，在面對地方歷史與記憶時所扮演的角色，以及觀者在觀看過程中如何藉由自身經驗與感知重新構築意義，尤其重視「觀看的誤讀」現象，即觀者因其生命經驗而對作品產生多樣化甚至偏離原意的詮釋，藉由此種多重性，藝術作品不再僅僅是創作者意圖的展現，而成為一種開放性的對話場域，使記憶得以在當代被重新連結與再創造。本論文的研究方法結合文獻探討、田野調查、歷史資料分析與藝術創作實踐。首先，從學理層面探討「此曾在」（那曾在）（That-Has-Been）概念及記憶理論，延伸至羅蘭・巴特（Roland Barthes）「作者之死」與觀者生成意義的相關論述。其次，透過實地駐村與觀察，累積第一手視覺與文化經驗，並融合歷史文件、地方敘事與現場感知。進一步將這些資料以繪畫、拼貼、混合媒材等方式轉譯為藝術作品，強調在物質與感知之間構築新的記憶圖景。最後，透過作品展覽與觀者反饋，分析觀看過程中意義的流動與重構。本論文撰寫內容，主要架構包含第一章：闡述研究「無所在」系列作品之研究動機、目的、研究方法與範圍。第二章：解釋「無所在」的學理基礎由「此曾在」之概念重構和歷史召喚。第三章 :「無所在」 系列的核心，在於歷史文件之收集，包含歷史文件、口述歷史、實地考察與過去與現在的比對等等。第四章：說明不同媒材與形式內容帶入自身創作思維的對應。第五章：解析實踐後作品風格作之繪畫表現的探討，從歷史文件到筆者轉譯過程，「無所在」的概念落實操作。第六章：為本論文結論，針對「無所在」創作研究提出完整的心得結語，與展望未來創作之發展的可能性。本研究最終旨在藉由藝術實踐，提出一種結合歷史、身體與情感層次的記憶敘事模式，使藝術作品成為連結過去與現在、個人與集體、真實與想像的橋樑。筆者期許透過本創作與研究，不僅深化對記憶與藝術關係的理解，也能為當代文化中的記憶保存與再詮釋提供新的視野與實踐路徑。This research centers around the theme of Nowhere, selecting three fieldwork sites, Tayal Resort, Chishang in Taitung, and the Luodong Forestry Culture Park, each of which carries cultural memories and landscape transformations shaped by different historical and social contexts. Through residency experiences, the researcher engages in multi-modal practices, including field observation, oral history interviews, archival photograph studies, and diary writing, attempting to visually reinterpret and reconstruct cultural fragments that have not been fully recorded in mainstream narratives. The focus is not solely on representing memory itself but also on examining the role of the artist as a translator when facing local history and memory, and on exploring how viewers, through their own experiences and perceptions, reconstruct meaning during the act of viewing. Particular emphasis is placed on the phenomenon of"misreading", where viewers, influenced by their life experiences, interpret works in diverse and sometimes divergent ways from the artist's original intent. Through this multiplicity, the artwork transcends the mere expression of the artist's intention and becomes an open field for dialogue, allowing memory to be reconnected and recreated in contemporary contexts. The research methodology integrates literature review, fieldwork, historical document analysis, and artistic creation. First, it explores theoretical frameworks surrounding the concept of That-Has-Been and memory theories, extending to Roland Barthes' discourse on "The Death of the Author" and the generation of meaning by viewers. Subsequently, through on-site residencies and observation, first-hand visual and cultural experiences are accumulated and further combined with historical documents, local narratives, and field perceptions. These materials are then translated into artworks through painting, collage, and mixed media, emphasizing the construction of new memory landscapes between materiality and perception. Finally, by exhibiting theworks and gathering viewer feedback, the research analyzes the fluidity and reconstruction of meaning during the process of viewing.Ultimately, this study aims to propose a memory narrative model that integrates historical, bodily, and emotional dimensions through artistic practice, positioning artworks as bridges connecting the past and the present, the individual and the collective, the real and the imagined. Through this creation and research process, the researcher seeks not only to deepen the understanding of the relationship between memory and art but also to offer new perspectives and practical pathways for the preservation and reinterpretation of memory in contemporary culture.This dissertation is structured as follows: Chapter One outlines the research motivation, objectives, methodology, and scope for the Nowhere series. Chapter Two explains the theoretical foundations of Nowhere, reconstructing the concept of That-Has-Been and the idea of historical invocation. Chapter Three focuses on the core of the Nowhere series: the collection of historical documents, including archives, oral histories, field investigations, and the comparative analysis of past and present. Chapter Four discusses the integration of different materials, forms, and personal creative thinking. Chapter Five explores the painting expressions developed after practical implementation, analyzing the translation process from historical documents to artistic creation and how the concept of Nowhere is embodied through practice. Chapter Six concludes the study with comprehensive reflections on the Nowhere creative research and proposes prospects for future artistic development.