吳天章作品中的詭態美學

Abstract

本論文將吳天章歷年的作品分成三期，以傅柯(Michel Foucault)在《不正常的人》中所討論的政治詭態和羅素(Mary Russo)提出的兩種詭態(Carnival and the Uncanny)來探討其作品在不同時期所表現的詭態樣貌。本論文由影像分析一方面試圖找出各時期的主題，另一方面也企圖從這些主題中了解其作品的寓意。

吳天章第一時期(1990年-1991年)作品裡的政治領袖肖像呈現了他對政治議題和社會變遷的關心。第二時期(1993年-1997年)的主題轉向了個人慾望和在地文化，他用俗麗的裝飾和攝影的概念塑造出了獨特的女性詭態影像。第三時期(2002年-至今)的作品運用了電腦科技，模擬複製出各種怪胎或是肉體，並配合文字來挑戰對於因果輪迴和宗教勸世的傳統價值觀。吳天章的作品由政治強人、個人肖像至近期的嘉年華式眾生相，都利用詭態的驚世駭俗來吸引觀者的目光。他的作品能和同期藝術之作有所區別之處就在於他極具後現代特色的拼貼和恣仿風格造成的吳式幽默。

In this thesis, Wu Tien-chang’s works are divided into three periods and are investigated with Foucault’s grotesque of political monsters in Abnormal (2003) and the two kinds of grotesques by Russo – the carnival grotesque and the uncanny grotesque (1995: 7). By analyzing the images, I define a theme for each period and show the allergy of each period through the themes.

During the first period (1990-1991), Wu manipulates the images of four Chinese political leaders (Chiang Kai-shek, Chiang Ching-kuo, Mao Tse-tung and Deng Hsiao-ping) to express his concerns about the political issues and the social transition. During the second period (1993-1997), he uses feminized figures in a way of photography to represent the uncanny grotesque with garish decorations in order to show his concern about personal desires and the local culture. During the third period (2002- present), Wu applies digital techniques in his pictures to generate and reproduce all kinds of freaks and bodies. He also uses religious texts to challenge the traditional values about reincarnation and the religious dissuasion. Wu uses the features of postmodernism – pastiche and collage – to achieve “Wu’s humor” which distinguishes him as a unique artist in Taiwan. From the political leaders to common people, and even to the carnival of all flesh, Wu’s grotesque images always draw our attention.