The Looping Hurts
| Autor: | WANG, HSIN-YU, 王信瑜 |
|---|---|
| Rok vydání: | 2019 |
| Druh dokumentu: | 學位論文 ; thesis |
| Popis: | 107 The traumatic experiences make me begin to create artworks and pay attention to the people who might have experienced the same traumas around me. I try to sublimate the traumatic emotions into creation. In my artworks, traumatic emotions are part of the trauma, but not the whole of it. Chapter One is “The Effect of Time on Me”, explaining my motives and background of creation, plus my literature review. This chapter also includes what I care in my works by using Moving Images as materials. The feature of diseases and disappearance in traumas are the main subject of my creative theme. To express the sense of time of the traumatized, I use the characteristics of Moving Image clip to distort the objective time. Artistic creations help me face the traumatic experience again. Through deconstructing and reorganizing traumas, they can be transformed. As it becomes a kind of “Rites of Passage”, it also makes me see the ability to enhance mental strength from the fragility of human beings. Repeated looping is a trait that can be seen in most of my artworks. It has the similar characteristic to the “Flashback” in traumatic experience, which means experiencing bad memories repeatedly. However, it is also the repeated viewing that helps viewers be able to appreciate my works more actively and more in detail. Chapter Two is “Creation as Rites of Passage”, introducing my artworks, analyzing the characteristics of the works and explaining the techniques of creation. In addition, it compares the similarities and differences to other artists. In the “Drug Series”, I present the changes in images of used drug packages and medicines after shooting and screening under lens. The accumulation of medicines also reveals the anxiety and insecurity of modern people's physical and mental conditions. In the “Burning Series”, I associate the characteristics of “paper” burning into “ash”, with the idea of “disappearance” to explore the essence of life. The element of fire has a deep connection with my life rituals experiences. Fire is a transformation medium after the end of life. The image of the paper birds implies the yearning to fly in subconscious, reflecting the desire to break away from the trauma and reborn through fire. Chapter Three is “When Moving Images Enter the Space”. Viewers must spend time watching the artworks together so as to complete the whole exhibition. There are two different ways when presenting Moving Images. One is the combination of the installation and the other is the essence of Moving Image. Besides, I have read the theory of “Borderspace”, which relates to the viewers and the artworks “co-emerge” in the exhibition and thus become mutual companions. I transform the theory into my imagination of space. It is a private and safe space where people will feel wrapped, and thus they are able to share the fragility of trauma in their lives. In the practice of technical aesthetics, it is necessary to consider the choice of planning space and equipment, and find out the best way to present the work when I plan an exhibition. Chapter Four is “Time Moves Forward”. By creating art works, the traumatic emotions are able to be transformed, and it becomes the proof of my post-traumatic growth. In the exhibition, the viewers and the artworks participate in the “Rites of Passage” I created. People can stay with traumas in a safe way, feel the healing through my works, and be able to get through the looping hurts in the trauma. |
| Databáze: | Networked Digital Library of Theses & Dissertations |
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