This thesis attempted to discuss the paintings I created between 2009 and 2014, of which the perception of alienation signified by the mutant figures was analyzed. Through the societal background and perception related study, I reorganized my creation statement and located its thread in art history, and dealt with the relations among body, space and the exterior world.

“The mutant body and space” indicated a world differentiated from the real one. In the creation, the alienation related perception and memory became the main content, and the sense of alienation was the force of mutation and manifested in the non-representational form. In “returning to alienation,” alienation as a state of mind of the collective perception was discussed. Furthermore, I analyzed the past memories in relation to alienation and its influence on the construction of self through Henri Bergson’s (1859-1941) theory of perception and memory. In addition, I also looked at the art period of Symbolism that focused significantly on emotions and feelings and pointed out the hints of feelings in the works. In “mutant figures, ” it started with the mutation of body and used Gilles Deleuze’s (1925- 1995) Figure to discuss the mutant figures in my works. “The site of biologicalization” took mutation as a start point of thinking, and used heterotopias and ruins to explore the site as a disfunctional space and its trait of alienation. Last, through the analysis of form and transformation of the works and the relation between body and space, the real scenes of the self and exterior world were unveiled.