American Video Artist, Mathew Barnery, has transferred his individual physical experience to the creation of video art work. His visual representation features an emphasis on body image and a reverse of the traditional visual semiotics. The extending continuity of reality is disclosed as the dialects of body and self proceed. Sheltering under the splendid visual appearance is contextual memory of the body as a speechless metaphor, which further highlights the atmosphere of treacherous uncertainty. Hence, the essay intends to analyze a series of his works with an interest on the significance of his visual images. The study concludes that the symbols of uncertainty in his video works are classified into three categories: first, a double existence of “voluntary memory” and “involuntary memory” results from the intertexture of struggle and pleasure. Second, the interaction between Mathew's body experience and body memory inspires an outburst of experiencing consciousness. Third, his body experience is a visual symbol generated by exhausting his ultimate physical strength. It is a retrospect on the “limit experience” through body experience in order to recapture the lost memory of the past. Thus, Mattew Barney's creative works disclose the body “transgression” of ecstasy and anguish, which also construct the inner “Heterotopias” of the self. The resulting state of treacherous uncertainty gives the viewer multiple associations for imagination to play with.

美國錄像藝術家馬修．巴尼（Mattew Barney）以個人體能經驗轉移至錄像創作，其詮釋手法包括自我身體觀點與顛覆傳統的符碼作為視覺表徵。在自身思維辯證下，可以發現他以身體行為揭露真實的綿延狀態，並在隱而不言的身體記憶情境裡，把華麗的視覺表象作為遮蔽屏障，進而凸顯一種詭譎氛圍狀態的不確定性。因此，本文從他的系列作品進行分析，並以圖像意涵為主要論述，研究結果發現，其錄像創作所延伸的不確定性符碼包括：一、集合掙扎與愉悅交織狀態下的影像是一種身體記憶，透過感官召喚而出現「保持性回憶」（Voluntary Memory）與「迸出性回憶」（Involuntary Memory）的雙重存在。二、其身體經驗與身體記憶成為緊密的相互關係，經由片斷意象的組合與怪誕情節安排，得以引發驟然出現的經驗意識。三、其身體經驗是在一種極耗體能耐力狀況下所產生的視覺符號，藉由身體經驗找回過去失落記憶而產生一種極限體驗（Limit Experiences）的反芻。如此，馬修．巴尼的創作揭露了極端愉悅和痛苦的肉體越界，無形中也建構了自我內在的「異托邦」世界（Heterotopia），進而顯露出詭譎氛圍狀態的不確定性，其影像也令人產生多重聯想。