This creative study takes up one single image as the source for creative ink painting production. It attempts to examine and engage the space consciousness of existence through the internal sense and external form of the image in question. Under the influence of the time factor, this study explores all possibilities of forming the visual conditions. On this basis, this study culminates in creative performances that correspond to the artistic concepts of “penetration” and “vacillation.”
This study examines the precision, ambiguity, symbolism and conceptualization of the image, traces their existences within the space, elucidates the vocabulary depth of the image, and extends the possible connections of the relevant factors from the signification of its modes of behavior. In this way, adopting the mode of a spider instinctively building a web for preying, the creator builds up his contemplation of the space field. From the objectivity, subjectivity, virtuality, and sociality of space, the creator explores the contemporary re-interpretation and discourses of space consciousness, consolidates the hybridity of diversified concepts in modern space factor, and adopts the fluidity of time to expand the discourse range of the image and space. At the same time, this creative process promotes the artistic value of the construction and interaction of the creator and reader-viewer in the same sphere.
By examining the genealogical context of the synthetic thoughts of image, space, and time in contemporary ink paintings and by comparing the discussion of different viewpoints and the performances of different forms, this study moves from the researching of possible creative practices to the concrete and viable process of creation. Adopting the techniques of burning and pasting, this study attempts to embody the concepts of “penetration” and “vacillation” in real two-dimensional space. At the same time, this study adopts the methods of sculpting and cutting to create a semi-cubic image of spider. In terms of the arrangement and exhibition, this study chooses to hang the fore and aft sides of the painting in parallel, establishing a scene for three-dimensional dialogue. Lastly, the study will expound this thematic concept through serial works that cover the three aspects of “open,” “semi-open,” and “closed” creative process.