創作就像是一片廣闊的天空，而人類的想像力更是無窮盡的。筆者認為在現實生活中遇到的事物在符合道德觀念上都能以正常邏輯性去思考與解釋並呈現出一個合理性的答案。倘若，我們把想像或幻想中不真實的意念表現於畫布上時，那麼，脫離現實的意識就能藉由繪畫創作呈現出來，而這種真實與虛無並存的一種矛盾性與衝突性的創新思維，以非現實、非理性的方式利用繪畫創作改變它原本符合邏輯的意義，就能夠衍伸出另一個新的風貌或意涵。 筆者認為繪畫創作是一種自我心靈的寫照，它能夠將生活中觸及至深的事物與心中繁雜思維做結合，以油畫創作方式表現於畫布上；一方面創作者藉由繪畫來宣洩情感以做為媒介，另一方面也讓自己更能夠在創作中清楚的正視自我內心的世界。我們都知道，夢境與現實是兩個不對等的時空，是心靈的思緒投射至腦海中形成一種「無意識」狀態，在現實中無意識的舉動或反應以及作夢中所產生虛幻的情境，經過文字或圖像的重新組合而成為一種新的概念，這樣的思維邏輯在達達主義乃至超現實主義，漸漸地成為當今創作者關注的焦點。而超現實主義的無意識觀念即是筆者創作與研究的主要方向。 本論文研究架構如下：第一章、說明筆者研究的動機與目的，並概述理論與創作上之結合與問題難點；第二章、藉由弗洛依德心理分析理論建構筆者學理研究的基礎論述；第三章、闡述「達達」至超現實時期之歷史，並以「隨機」、「聚合」之偶然性的創作觀進行初探與評析；第四章、說明如何以「隨機」、「聚合」的觀念運用於作品，並透過點描技法與新印象主義的色彩觀念來創作實踐；第五章、針對筆者的繪畫作品做全面性的分析與詮釋。最後，結論是本論文與繪畫創作歷程的回顧與反思，並論及心理無意識與「隨機」、「聚合」創作對當代藝術的影響。 Creative work is like a spacious sky whereas human imagination is even more infinite. I assume that all things conforming to moral views and encountered in real life can be pondered and interpreted with normal logic, and hence a reasonable answer will arise. If we convey on canvas the unrealistic notion in an imagination or fancy, the surreal consciousness can then be presented through creative paintings. This way we can also transform their original logical meanings in an unrealistic and irrational way. Thus, this contradictory and conflicting innovation of thinking, derived from the coexistence of reality and nihility, is likely to introduce another new style and connotation in painting. I believe that painting creation is a portrayal of one’s own mind. It can combine far-reaching things in life with chaotic thinking in mind by way of innovative oil painting on canvas. On the one hand, creators can ventilate their affections via the media of painting, and on the other hand, they may well confront clearly their inner world in the process of creation. We all know that the dreamland and the real world are two asymmetric realms, with the former referring to a state of unconsciousness formed while thoughts are being projected on the brain. In real life, the unconscious action or reaction and the illusory situation in dream will conjure up a new concept through the rearrangement of written words and images. Such a logical thinking in the Dadaism or even the Surrealism period is increasingly becoming the focal point of attention among contemporary creators. The concept of unconsciousness in surrealism thus becomes the principle direction for my creative works and research. The research framework for my dissertation is as follows：In chapter one： I explain the motive and purpose for my research. The connection between theory and creation and difficult points in questions are also summarized.In chapter two,：I construct my fundamental exposition based on Sigmund Freud’s psychoanalytical theory.In chapter three： a history from Dadaism period to Surrealism period is elaborated. A preliminary investigation and evaluation is also conducted from the viewpoint of circumstantial creation in the “chance” or “assemblage”In chapter four： I describe how to apply the concept of “chance” and “assemblage “to my works, and how to put creative work into practice by means of techniques of Pointillism and the color conception of Neo-Impressionism.In chapter five：I have performed a comprehensive analysis and exposition of my painting works. Finally, there comes a conclusion with retrospective and introspective views on this dissertation and the course of my painting creation. Besides, the impact of psychological unconscious and chance and assemblage on modern art is also mentioned here.
