繪畫創作的動機多來自於外在與內在世界的觸動，是藝術家創作的能源要素。其與眾不同的觀看方式與對世界的幻想，豐富了他們的精神世界。面對現實世界中的不如意，藝術家找尋到了釋放壓力的出口，透過繪畫創作的方式。藝術家尊重心中的感受並將其轉化為愉快的力量，可以藉由繪畫創作的內容形式與表現手法，盡情的表達創作者的情感、思維、需求、願望，進而將其具體化、圖像化，使心中的理想都能在作品中表露無遺。並且在創作過程得到了心靈上的滿足，撫平現實世界中的傷痛，療愈自己的同時，也能夠療愈他人。
本論以「內在烏托邦」作為創作的命題，以內在烏托邦比喻為心中的理想世界。對於老莊思想「遊」解釋為創作的心態，透過「心游、身遊」的方式幻想或建構心中的理想風景，自由安逸的棲居於美好的國度。而在創作的內容探討上，運用現象學中的「意向性」來解讀人與物像間的關聯性，進而理解作者的潛意識對創作的影響。由於潛意識對物像的意指，夢與幻想能夠編織美好的場景與情節，構築理想的天地，同時反映內心潛在的渴望。繪畫創作實現了內在烏托邦的世界，讓內在烏托邦外顯於真實的世界當中。筆者運用了以上概念深入探討自我，並延伸為“獨白”與“樂園”兩個系列作品。
本論第一章為緒論，內容涵蓋內在烏托邦之研究動機與目的、主要引用資料分析、名詞釋義，作為論文探討議題的開頭。第二章為文獻分析對於「遊」的概念、烏托邦之時代衍繹、意向性的文獻資料進行彙整。第三章為內在烏托邦的外顯，作為創作論文之主要脈絡，而在創作方面，筆者以膠彩創作為主要媒材。第四章針對膠彩創作的過程與表現手法加以探究，並參照分析多位藝術家的創作形式。第五章中，創作實踐與作品分析相呼應，內在烏托邦的理論闡釋，主要目的在於傳達個人內在的精神思想，透過膠彩創作的實踐探索自我創作的脈絡，展現自我風格的語彙。

Feeling from the external and internal world intrigue the motion of painting，which is the source element of energy for artists' creation. Their distinctive way of seeing and dreaming of the world enrich their spiritual field. Facing in the unsatisfactories in reality, artists has found an outlet to release their pressure through painting. They respect their inner feelings and transform them into joyful power, by the form of content and expression method from creation of paint, fully express the emotions, thoughts, needs and wishes. Then all the things the artist present are become materialized and visualized, while the ideal in mind are completely revealed. What’s more, spiritual satisfactions are gained in the process of creating, healing the pain in the real world for not only themselves but also others.
This thesis takes “internal utopia” as the topic, it represent the ideal world in mind. elucidating the concept “wandering” from Taoism as the creating mentality. The author is trying to fantasy or construct the ideal scenery in mind through the “wondering of mind” and “wondering of body” and thus living freely in the inner wonderland. For the content part, the concept "intentionality" from Phenomenology is used to interpret the relationship between people and object images, so as to understand the influence of the author's subconsciousness on creation. As object images imply the subconsciousness, dream and fantasy can create beautiful scenes and plots for the construction of the ideal world, showing the inner desire at the same time. The painting process makes the internal utopian world realized and become apparent in the true world. The author has deeply explored himself with concepts above and transform the idea into art language in his two series of works: “Monologue” and “Paradise”.
The first chapter is introduction at the beginning of this thesis, it includes the research motivation and purpose of internal utopia and its concept and reference analysis. The second chapter is the collection of the materials about the concept of “wondering”, the meaning of utopia in the new era and the analysis of intentionality. The topic of the third chapter, is the outcome of the idea“internal utopia”, which is the main clue of this thesis. As for the process of painting study, the author takes the rock-dyestuff painting as medium. In the fourth chapter, the author explores the procedure and technique of expression of rock-dyestuff painting, analyzing creative art forms of several artists as reference. In the fifth chapter, the creative practice works in concert with analysis of the works, and the theoretical explanation of internal utopia is mainly aimed at conveying personal inner spirits, exploring the clue of self-creation through the practice of rock-dyestuff painting, and showing the art expressions of self-style.