肉身運輸-白書豪繪畫創作論述

Abstract

本研究關注現代人的處境，筆者既做為現代都市生活的一份子，又是漫遊在其中的觀察者，透過大眾運輸中等待的身體，反思人與人之間的關係、人與世界的關係。大眾運輸身體的存在狀態，經常不是自在且自為的，而是受到各方外力影響而產生的身體處境，有來自資本累積對身體空間的擠壓；來自虛擬超越現實帶來的空洞；來自身體距離不可把握造成的疏離；來自網路鏡面多對一的規訓；來自人際間的不確定感以及肉身感知的顫抖。我們處於被虛擬擾動的時代，聲光刺激吸引並改變了感知與行為，掏空了身體在場的意義，使移動成為起點與終點、點對點的機械式肢體行為。然而身體既受虛擬刺激的碎片化拉扯，又被感知牽引回現實，於是處於虛擬與現實交織中的顫抖張力，彰顯出肉身在虛擬與現實拉扯中的存在狀態。筆者透過非可見色彩與線條的二重性，揭示肉身在規訓與感知交織中的漂泊。一方面，線條作為輪廓，劃定邊界，反映規訓的秩序；另一方面，作為空間表面，其扭曲與延展則撕裂穩定，向空間場開流佈，開啟重構的可能。筆觸的變化展現肉身邊界的不確定性，使其在凝視與流動間擺盪，線條遂成為解放的語言，彰顯肉身在異化與重塑中的感知本質。同時，筆者透過研究探討繪畫的本質與當代意義，反思繪畫在藝術脈絡中的角色及其必要性，並直面杜象以後藝術脈絡中創作成立的問題，探索繪畫做為藝術的邊界、限制與可能性。筆者認為繪畫不應該只是簡單的反映生活本來的面目，而應該善用它的雙重特性，即社會事實與自主性，反思現代社會同質化的影響，並使藝術挑戰主流規範，希望透過創作提供一種不受社會主導力量支配的另類生活視角。

This research focuses on the situation of modern people. The author is both a part of modern urban life and an observer wandering in it. Through the waiting body in mass transportation, the author reflects on the relationship between people and the relationship between people and the world. The state of existence of the body in mass transportation is often not free and self-contained, but a physical situation caused by the influence of various external forces, including the squeeze on the body space caused by the accumulation of capital; the void caused by the virtual transcendence of reality; The alienation caused by the ungraspable distance; the many-to-one disciplines from the Internet mirror; the uncertainty among people and the trembling of physical perception.We are in an era of virtual disturbance. Sound and light stimulation attracts and changes perception and behavior, hollowing out the meaning of physical presence and making movement a mechanical body behavior of starting point and end point, point-to-point. However, the body is both fragmented and pulled by virtual stimulation, and is also pulled back to reality by perception. Therefore, the trembling tension in the interweaving of virtuality and reality demonstrates the existential state of the physical body in the pull between virtuality and reality. Through the duality of invisible colors and lines, the author reveals the wandering of the flesh in intertwining discipline and perception. On the one hand, lines serve as outlines, demarcating boundaries and reflecting the order of discipline; on the other hand, as spatial surfaces, their distortion and extension are torn and stabilized, flowing into the spatial field and opening up the possibility of reconstruction. The changes in brushstrokes reveal the uncertainty of the boundaries of the body, causing it to oscillate between gaze and flow. Lines then become a language of liberation, highlighting the perceptual nature of the body in alienation and reshaping.At the same time, the author explores the essence and contemporary significance of painting through research, reflects on the role and necessity of painting in the artistic context, and directly faces the problems of creation in the artistic context after Duchamp, exploring the boundaries, limitations, and limitations of painting as an art. possibility. The author believes that painting should not simply reflect the true face of life, but should make good use of its dual characteristics, namely social facts and autonomy, to reflect on the impact of homogenization in modern society, and to enable art to challenge mainstream norms. Through creation, I hope to provide an alternative perspective on life that is not dominated by the dominant forces in society.