論攝影以複合媒材形態所表徵的地方感創作—以台灣2000年到2010年之作品為例

The Discourse on the Sense of Place Represented by Mixed Media in Taiwanese Photography Creation—Case studies on works from 2000 to 2010

臺灣在1960年代起，因受到西方複合媒材創作精神的影響，各種傳統媒材，開始有了對話、共構的機會，而藝術家也開始實驗將日常中的物件置入作品中，跨越藝術與現實的界線。此種以觀念為主導的藝術表現，也在當時臺灣的攝影創作中發酵。直到90年代，以物質結合攝影影像所進行的複合媒材藝術創作，雖然數量不多，卻在臺灣藝術發展中，具有一定的重要性與代表性。而觀察這些作品，似乎除了展現出有別於西方複合媒材形式的強烈風格之外；在內容上亦不約而同地關注起臺灣各種在地的文化題材。本研究發現2000-2010年的這類創作，都巧合地聚焦於對臺灣地方情感更強烈且更特殊的表述。這是否因為此種以攝影結合媒材的創作形態具有其特殊的影像涵構，且擅於表徵出藝術家的「地方感」（sense of place）。因此，本研究企圖透過關於物質、文化、藝術等相關理論之探索，以及臺灣攝影脈絡與取樣作品的分析，挖掘出臺灣攝影以複合媒材形態進行創作的思維特質，希望藉此釐清它對臺灣地方感的表徵意涵。

 

Due to the influence of western mixed media art on [approaches?] and form, Taiwanese photographers also started to develop similar ideas in the 1960s. Through traditional media, there were communicative opportunities for creating art together, and artists began to incorporate everyday objects into their works, thus crossing the border between art and reality. It was not until the 1990s that mixed media, which combine other materials with photography, became widely popular. Albeit only on a small scale, it played an important representative role in the development of Taiwanese art. Looking at these pieces closely, we can recognize a strongly local style, with unique cultural themes, which is very different from typical western ideas of mixed media art. This study argues that artworks from the decade between 2000 and 2010 coincidentally show a sense of identification with Taiwan. This may be because this form of art expression can easily convey feelings through its structure and can express an artist’s sense of place. Therefore, through an investigation of relevant theories of material, culture and art, and an analysis of samples of Taiwanese photography, this study reveals how the unique identity of mixed media in Taiwan helps us understand its impact on the Taiwanese representation of a sense of place.