This research paper begins with “seeing” and “perceiving” and attempts to explore the underlying meaning of space and the aesthetic connotations in artistic “spatial installations” through the phenomenological methods of “seeing” in “visibility” and “perceiving” in “invisibility.” This paper is structured into five chapters:
The first chapter “Introduction” elaborates on the research motivation, goal, methodology, and scope of research, and gives brief definitions of the terminology that are used in the paper.
The second chapter “Academic Basis” examines the outlines of spatial phenomenology and attempts to understand the underlying aspects of “invisibility” that exist outside the “visibility” of “space” and compares the “felicitous space” in Gaston Bachelard’s “house” and the “hostile design” in Foucault’s “panopticon.”
In the third chapter “‘seeing’ and ‘perceiving’ in Spatial Installations,” this paper explores “spatial installation” from the perspective of “visibility” and “invisibility.” The chapter begins with the concept of “readymades” and investigates the relationship between phenomenology and Minimalism to further examine the connection and presentation of “ink,” “material,” and “spatial installation.”
The fourth chapter “Creative Practices and Artwork Analysis” looks at three works series: House, Concrete, and Workers Holding Placards. The analysis of creative form and discourses on the artist’s personal beliefs responds to the spatial connotations of “house,” “ruins,” and “surveillance” in the series.
Finally, the fifth chapter “Conclusion” concludes the core contents of this paper and looks toward future works and research.