本研究自2020年，筆者入研究所開始，從自身出發，在疫情時代裡觀察情緒與其對人的影響及心境轉變等。藉由文獻分析與梳理，探討文字與自動性技法應用於藝術表現的形式等。探尋西方古典繪畫中，疫病與藝術表現之關係。透過創作實踐，表現對主題之覺察與聯想抒發。

　　筆者一直都很關注跟情緒有關的焦慮方面的精神狀態，在關注自己之餘，也想感受時代的洪流、與他人之間的串連關係。新型冠狀病毒(Covid-19) 已經造成一個疫情時代，人們異地共時，無不直接、間接受影響。每過一段不特定的時間，即完成一小波情緒的循環。筆者想關注在情緒的某種意境、情境，表達看法與紀錄疫情時代造成的變動與波瀾。不穩定感、不確定感，是時代的共感特色，這是一種慢性、長期的浸染，身在其中時不一定容易覺察。不安的情緒在某些情況下攀上，影響著人，而人覺察著它，交互作用著。這種處境，好像情緒是種有機體、人是和情緒在曖昧一般。

　　透過以平面性繪畫為主體與壓克力顏料、鏡面等媒材結合，表述此創作。藉由文獻分析與探究，支持創作內容的脈絡性與思考性。從起始的感知情緒，到決定以此為主題的創作、一連串訪談與規劃，紀錄與研究，繪畫創作以及使用複合媒材的心路歷程。

This research started in 2020 when the author entered the research institute, starting from herself, observing emotions and their impact on people and mood changes in the epidemic era. Through literature analysis, discuss the application of words and automatic techniques in the form of artistic expression. To explore the relationship between disease and artistic expression in acrylic painting. Through creative practice, express the awareness and association of the theme.
The author has always paid attention to the mental state of anxiety related to emotions. Apart from paying attention to herself, she also want to feel the torrent of the times and the serial relationship with others. The new type of coronavirus has created an epidemic era, where people live in different places, and all of them are directly or indirectly affected. Every time an unspecified period of time passes, the cycle of a small wave of emotions is completed. The author wants to pay attention to a certain artistic conception and situation of emotions, express opinions and record the changes and waves caused by the epidemic era. The sense of instability and uncertainty are the common characteristics of the times. This is a chronic and long-term influence, and it may not be easy to detect when you are in it. Uneasiness creeps up in certain situations and affects the person, and the person is aware of it and interacts with it. In this situation, it seems that emotions are an organism, and people are ambiguous with emotions.
This creation is expressed through the combination of 2D painting as the main body and acrylic paint, mirror surface and other media. Through literature analysis and exploration, support the contextuality and thinking of the creative content. From the initial perception of emotions to the decision to create on this theme, a series of interviews and planning, records and research, painting creation and the mental journey of using mixed-media.

中文專書：
1. 弗蘭克‧惠特福德(Frank Whitford)著，王昭文譯，《席勒》，臺北：遠流，1977。
2. 高宣揚，《存在主義》，臺北：遠流，1993。
3. 明瞿汝稷，《指月錄》卷二十八，四川：巴蜀書社，2017。(2)專書：
4. 胡永芬編，《生命的吶喊 : 孟克》，臺北市 : 閣林國際圖書，2001。
5. 馬庫色著，劉少杰譯，《美學向度》，台北：時報文化公司。
6. 陸雅青，《藝術治療第三版》，臺北：心理出版社， 2005年。
7. 莊博安，《慢性焦慮：焦慮，是過往未曾處理的生命創傷》，臺北：寶瓶文化，2022。
8. 瑪莉塔.史特肯(Marita Sturken)、莉莎.卡萊特(Lisa Cartwright)著，陳品秀、吳莉君譯，《觀看的實踐:給所有影像世代的視覺文化導論》 (Practices of Looking: An Introduction to Visual Culture, Second Edition)，臺北：臉譜，2013。
9. 蔡佳葳，《自虛空中迴旋而來》，臺北：耿畫廊，2015。
10. 蔡佳葳作，沈怡寧、錢佳緯、廖育琦譯，《欲貪孰為本》，臺北：耿畫廊，2019。
11. 顧爺，《這不是你想的藝術書2-那些謎一樣的藝術家》，臺北：原點，2015。
12. 蘇絢慧，《療癒孤寂：30堂課學會接住自己，建立內在安全感，成為能與他人連結的完整自我。》，臺北：天下雜誌股份有限公司，2020。

西文專書：
1. Daniel Goleman,“ Emotional intelligence, New York : Bantam Books”, 1995.
2. Essays by Paul Winkler and Carol Mancusi-Ungaro ; edited by Julie Sylvester and Nicola Del Roscio ; photography and design by Takaaki Matsumoto, “Cy Twombly gallery : the Menil Collection”, Houston, New York : Cy Twombly Foundation ; Houston : Menil Foundation, Inc. ; New Haven : In association with Yale University Press, c2013
3. Edvard Munch, “ The Private Journals of Edvard Munch: We Are Flames Which Pour Out of the Earth”, Terrace Books, 2005.
4. J. M. Bennett and C. W. Hollister, Medieval Europe: A Short History（New York: McGraw-Hill, 2006）.
5. Leeman, Richard,《Cy Twombly : a monograph》 /: Isabelle d'Hauteville London : Thames & Hudson, 2005.
6. Teófila Vicente-Herrero, Paintings From Spain's COVID-19 Pandemic, AMA Journal of Ethics, 2020.

電影資料：
1. 《席勒與克林姆的首次會面》，沃夫岡‧費雪與古德施密，電視影片，1979。