「殘留的痕跡」—戴語萱創作自述

Abstract

本篇論文以「殘留的痕跡」為題，旨在探討從繪畫的形式、物質性、色彩及感知等面向切入，梳理其內在結構與表現特徵，這些「殘留的痕跡」是創作過程中留下的物理記錄，更是時間、記憶與創作意圖的印證，承載著畫面上留下的印記，重點關注材料、質感、色彩等多重元素在作品中的交織與流動，試圖在作品中創造一種具有詩意與哲思的視覺語境，並進一步探討如何延伸至空間與觀者感知。本篇論文以碩士階段的創作為研究主題，進行分析、實驗、實作及檢討創作過程中的各種變化與發展，創作大致可分為三個系列：「波」、「觸礁」與「殘留」，探討物質性繪畫、自然意象、繪畫的時間性、空間感知等藝術元素。首先，本文將回顧過往的創作，從中梳理出創作動機與目標，並分析在進行創作過程中所遇到的疑問與困惑，隨著對材料與質感的反思，創作方向逐漸轉向不同的實驗領域，從而發現了新的創作面向。在第二章中，聚焦於繪畫的形式、物質性與時間性，從格林伯格（Clement Greenberg, 1909-1994）的形式主義出發，探討觀看條件的轉變與平面性的強調，進而延伸至繪畫作為時間累積與空間對話的場域。接著透過分析物質性繪畫與色域繪畫，探討畫家如何運用色彩、肌理與媒材呈現繪畫的物質特質與時間性痕跡，並回應繪畫如何在色彩場域、物質沉積與觀看流變中建構自身的存在狀態，從而展現新的感知方式。第三章將深入分析創作的媒材脈絡及其應用，並探討畫面視覺語彙的運用與觀看形式與空間的關聯，展示與描述創作過程的思維，創作理念從視覺與材質的互動出發，進一步探討「痕跡」這一元素的視覺表現力，第四章在此基礎上深入分析三個創作系列的實踐與內容，並進行檢討，思考如何通過這一元素展現作品的內在精神及其與觀者的互動，第五章則綜整創作技法與形式語言的發展脈絡，回應「痕跡」作為時間性與感知經驗載體的意涵，並從理論與實踐層面提出未來創作的多向展望。This statement, titled Traces of Residue, aims to explore the internal structure and expressive characteristics of painting through the lenses of form, materiality, color, and perception. These"traces" are not only the physical remnants left behind during the creative process, but also serve as evidence of time, memory, and artistic intent. Carrying the imprints left on the pictorial surface, they reflect the interplay and flow of multiple elements—material, texture, and color—within the artwork. The study attempts to construct a visual context infused with poetics and philosophical contemplation, while further exploring how these traces extend into spatial dimensions and viewer perception.This research focuses on the author's creative work during the master's program, analyzing, experimenting with, and reflecting upon the variations and developments within the creative process. The body of work can be categorized into three main series: Wave, Reef Collision, and Residue. These works investigate key artistic concerns such as material-based painting, natural imagery, temporality in painting, and spatial perception.The first chapter reviews previous creative practices, identifying motivations and goals, and analyzesthe doubts and challenges encountered during the process. As reflections on material and texture deepened, the direction of creation gradually shifted toward new areas of experimentation, revealing alternative perspectives for artistic development. Chapter Two centers on painting’s form, materiality, and temporality, beginning with Clement Greenberg’s (1909–1994) formalist theory, exploring changing conditions of viewing and the emphasis on flatness, and extending to the idea of painting as a site of temporal accumulation and spatial dialogue. By analyzing material painting and color field painting, the chapter examines how artists use color, texture, and medium to manifest material characteristics and temporal traces, revealing how painting constructs its ontological presence through fields of color, material sedimentation, and perceptual fluidity, thereby presenting new modes of perception.Chapter Three investigatesthe context and application of materials in the author’s own practice, examining the visual vocabulary of the pictorial surface and its relationship to modes of viewing and spatial configuration. This chapter presents the conceptual framework behind the creative process, grounded in the interaction between visuality and materiality, and further explores the visual expressiveness of the element of"trace." Building on this foundation, Chapter Four offers an in-depth analysis and critique of the three creative series, examining how this element articulates the internal spirit of the work and mediates its interaction with the viewer.Finally, Chapter Five synthesizes the development of techniques and formal language, positioning “trace” as a carrier of temporality and perceptual experience, and proposes multiple future directions for practice from both theoretical and practical perspectives.