Tiles are regarded as a common, essential element, which is the basic unit of a

family house in Taiwan. The creator adopts tiles and Encaustic Cement tiles as the

sentimental image to create artworks. The first chapter describes the motive of

artwork creation, the method of study and the outline of the thesis. The area and

limitation of the study have been contained as well. For the second part, the semiotics

of culture and iconological meaning behind tiles have been elaborated on based on

Susanne Langer’s Semiotics and Erwin Panofsky’s iconology. Besides, the historical

significance of tiles has been discussed by researching on the history and evolution of

them, and the remains of demolished houses, talking about the relation of the space

and the being of its tiles, and the memory incurred by the space and the object. The

creator also shares her feelings about her family house, related to her experiences on

family memories. The third indicates the techniques and the procedure of creating

artworks, especially ‘Finger Painting’ as the one she often did in her works, and

‘Impasto’ leading to the texture of brushes, which could be referred to the identity of

an individual body. In the fourth chapter, the analysis of the artworks has been

divided into three series: ‘representation of space’, ‘displacement of space’ and

‘spiritual image’. The first series is to create the illusion of the space and the objects,

discussing the emotional feelings about the relation of the occupied and unoccupied.

The second is to have a dictate on the imagination and feeling of her personal comfort

zone when she is moving from one place to another. The last is to use metaphorical

images to portray the sentiments to ‘family’ and ‘return’. In this chapter, the content

and meaning of images have been described. The fifth chapter is the sum up of the

thesis, writing down the whole significance of a home and the relationship between an

individual and a family house by means of meta-interpretation.