「性」題材於當代已跳脫了禁忌的框架，一反過去的道德規範，轉為創作的重要題材。台灣的當代女性藝術家，從八○年代試圖以「性」議題喚起當代藝術的「性別意識」，其表現手法是壓抑與隱喻的。而時空推演至九○年代，不同於之前作為提高性別意識的革命武器，其轉而作為自我意識宣示利器。然而「性」的表述應不只存於女性的自我敘事或作為宣示之媒介，男性對於「性」題材亦有獨立面向的視野。但由於女性主義的發展，使得整體社會對「性」議題產生了女性藝術家對「兩性現況」控訴的串聯，導致此題材成為女性藝術的另類顯學。故本研究欲從兩性藝術家之創作理念與表現手法進行分析研究，探討其中社會建構與思維之殊異，進一步觀察雙方在「性」題材的不同詮釋現象。 Sexual motif has been no more a taboo and expressed without restrictions by contemporary artists, which usually subverts the traditional moralities in an important way. From 80’s on Taiwanese female artists try to arise “gender consciousness” of contemporary art while treating such motif under oppression and by metaphorical means. After the 90’s, the emphasis from enhancing gender consciousness to emphasizing self-consciousness makes it necessary that the expression of sexual motif should not only include female’s angles, but mean masculine viewpoint as well. For the rising of feminism, our society meets with conscious association of women artists against sexual inequalities, which in turn making sexual motif aesthetic prevalent in women artists’ hands. This article attempts to analyze both male and female artists’ concepts and expressive means, probing into their different social constructions and as to see next step, how they interprete sexual motif with different perspectives .
