This thesis consists of five parts which conceptualize art pieces study and analyze step by step what are the progress and the output to create art pieces.
Chapter One, introduction, presents the origin of art pieces study, the impetus of this study, the creation methods of selected art pieces, and the scope and the structure of this study.
Literature review, the second chapter, examines the productions of three western artists by focusing on the source of selected artists’ passion and on the different form of their creations. Firstly, Wassily Kandinsky indulges in improvisational geometricity. Secondly, Joan Miró poeticalizes organics and redefines point-line-faces formulas and their perceptions in paintings. Thirdly, abstractionist Jackson Pollock conducts his experimental style of drip painting. Their thinking and creation methods are the core in this chapter.
Next, Chapter Three deliberates the significance of some art pieces, creators’ internalization, and the implications of those creations. Firstly, it discusses how female artists use paintings to voice opinions through the lens of gender differences. It inquires the development and types of feminist art from the aspect of art history. Secondly, it illustrates the combination of characteristics between eastern and western art pieces. Using the topic and type of my own creation, it depicts interactions between eastern and western art in history and follow-up impacts both on the west and the east. Thirdly, it highlights the cultural symbols in art pieces and the artists’ internalization. With Susanne K. Langer’s theory on cultural symbol and Maurice M. Ponty’s narratives on body awareness and internalization as stepping-stones, it uses psychoanalysis to delineate the intertwinement between the elements of painting and the shape-color-dimension construction. Furthermore, it manifests how artists use line, symbols, and dimensions to visualize the processing of emotions and mental imagery.
The fourth chapter explains my own creation from its “construction and demonstration”. To begin with, it discusses tranquilization and practices from the mindset of a creator. Then, in aspect of “circumstantial interpretation, more or less”, it describes the circumstantial and external influences on the use of line, color, and dimension when creating an art piece. Lastly, it is about “intangible symbols and imagination.” By analyzing the content and symbols of my creation, it expresses how I am aware of my own being.
Then, the fifth part concentrates on the practices and the manifestations of art creations. It comprehensively dissects individual art piece from its impetus, context, reflection, and creation process, and examines its methods, styles, manifestations, and its materials. Furthermore, it uses meta-interpretation approach from a subject viewpoint to detail how the different strangeness of materials and mediums usher me to divergent series of art creations. From angles such as emotion, the spirits of those materials, memory, and self projection, it anatomizes feelings and intuitive thinking on the spiritual level.
Chapter Sixth is the conclusion. Given the process of this thesis and my creation, I realize not only my physical and mental status but external environment changes by reviewing the creation process and circumstances. This experience enables me to have an overall inquiry and reflection over my research. I can summarize and record my journeys. Therefore I am more capable and thoughtful to create art pieces.
This paper starts from the idea of “playing” my own being, extends to cultural study, art history, and aesthetic concepts, and finally studies my creation and exploration to seek for the echoes among my own being, creations, and viewers.