本研究是一篇探討關於「藝術家的存在空間」之研究，並且針對枋寮藝術村之駐村藝術家的日常生活路徑，理解其「回歸到人的真實生活經驗」的「空間」之建立，再探討其藝術創作內涵是否因這樣的理解而有所轉變的過程。 重點在探討枋寮藝術村之駐村藝術家，以其反映出來的不同創作內涵，所對應出來的、呈現出來的不同的存在空間圖示。主要目的有三：一、探討枋寮藝術村駐村藝術家的存在空間之真實狀況。二、由空間去理解藝術家的藝術創作內涵。三、分析、記錄藝術家的創作類別與表現形式是否受到空間經驗的影響而轉變。 本研究運用現象學概念之「田野調查法」，著重於藝術家個別的生活世界實況，作為進行枋寮藝術村及駐村藝術家之藝術創作內涵是否受到空間經驗的影響而轉變的歷程之研究取向。在研究過程中，輔以觀察法、深度訪談法、文件分析法等作為收集相關資料的方式。研究結果發現： 一、枋寮藝術村大部分藝術家的生活被分裂成三塊，亦即藝術家們須兼職賺錢工作，從事神聖心靈活動和藝術創作活動。他們是處在「分裂的」生活世界範疇裡。二、他們的生活範圍，遠超過藝術村的範圍。三、他們的生活經驗，並非在地性的生活經驗，極少與在地的生活脈絡融合為一。四、由他們的生活脈絡即可看出：「藝術村」是一個創作之所在，而非生活之所在，其「生活上的經驗」與「枋寮」並未相關、或者很有限。 枋寮藝術村駐村藝術家的創作類別多元化，表現形式也多采多姿，但是，大多數藝術家的作品內涵，其實並無法、或者說極為有限地真正反映、呈現出枋寮的地方性。 本研究源於對故鄉之熱愛，懷著希望與盼望之情，提出研究心得作為嘗試性探問，並呈現出此「在地經驗」之成果。期望能提供藝術村營運管理單位、藝術家、各級政府、學術及文化行政單位之參考。 This research is to explore 「the artist's existential space」and focus on the daily life of the artists who live in Fangliao F3 Art Village to realize 「Space」 which established upon 「Back to people’s real experience」, then probe into the spirit of art creation to see if any transformation has done by the realization. The point for this paper is to find out the different art creation reflects the different existential space with. This research has three main purposes： （一）Probe into real situations of existential space with the stationary artists in Fangliao F3 Art Village.（二）Understand the meanings of the artists’creations through space.（三）Analyze and record the artists’categories of creation and the ways they perform to see whether or not there is any transformation induced by the influence of space experience. This research uses 「Field work method」of the phenomenology concept. Center on artists’ individual real life experience to understand if the content of Fangliao F3 Art Village artists’ creations affected by influence of space experience. To collect the relative information it also use the means of 「Observational method」、「In-Depth interview method」and 「Literature analysis method」. The results are： （一）Most of Fangliao F3 Art Village artists’life have been split up into three parts：getting to work for making money、doing pure spiritual activities and creating art designs. Those artists are living in the separated world. （二）Fangliao F3 Art Village artists’life scope are bigger then the Fangliao F3 Art Village. （三）Fangliao F3 Art Village artists’life experiences are not coming form Fangliao F3 Art Village. Their artistic creations are not combining with the Fangliao F3 Art Village life style. （四）Through they life style one call tell: Fangliao F3 Art Village is only a place for creating art. It is never a place for living. Their life experience have no connection or have connection very limitedly with Fangliao. Most of the Fangliao F3 Art Village artists’artistic creation categories are very diverse and the ways they perform are full of variety, but most of the Fangliao F3 Art Village artists’artistic creation can’t truly or reflect very limitedly the spirit of Fangliao township. This research is originated from the love and passion that I have toward my hometown with hope and prospection. Using experimental approach to bring up what I have learned from this paper and present it here with “local experience” results. Hoping to provide reference to artists, organizations that manage Art Villages, any levels of government, and academic cultural administration.
