第一眼，荷蘭畫家基斯．古祖瓦德（1958年生）的畫作讓觀眾勿以爲是剪紙拼貼畫。事實上，這些作品描繪了與之等同大小的紙質模型。古祖瓦德的創作方法始於以色紙、這色透明度的醋酸鹽薄膜、紙膠帶構築一幅紙質模型。這些輕薄的材料被剪、貼、相互堆叠形成抽象的拼貼畫。排列好拼貼畫後，古祖瓦德將以顏料將拼貼的構圖呈現在畫布上。他隱藏筆觸，使畫面顯得光滑、輕薄，同時，讓顏料模仿紙模型的質感，以假亂真。古祖瓦德的畫作既以寫實筆法展現平凡的物質，亦是抽象的形狀排列。

此論文以分身（the doppelgänger, the double），一個與本體相同、威脅要取代自我的存在，來解釋古祖瓦德的模型與畫作之關係。這兩者相似卻又不同，以平等的姿態持有華特·班雅明所定義之原作的靈光。此論文進一步探查古祖瓦德的構圖中所展現的不同種類的分身，如存在與不存在、正與負。此分析旨在為分身這一該概念在視覺藝術的研究做出貢獻。近年，分身這一概念在視覺藝術的研究已引起了許多學界興趣。

論文的最後部分將聚焦於基斯．古祖瓦德藝術中所展現的機械性和檔案圖像。文獻資料的意象、書籍出版的指涉同時表達了以上兩個主題。膠帶、醋酸纖維片賦予了古祖瓦德藝術獨特的透明和不透明效果。文中這兩種關鍵材料的歷史、材料特性的考察，凸顯古祖瓦德的創作與 20 世紀初前衛傳統的聯繫。

基斯．古祖瓦德的畫作反思了繪畫的本質，進而激發觀者覺察他或她正在進行觀賞這一行為。這一反思性的經驗讓觀眾專注於面對作品的當下與現場。

At first sight, paintings by the Dutch painter Kees Goudzwaard (b. 1958) deceive the viewer as they resemble paper collages. In truth, the paintings are equal-size representations of the paper models constructed by the artist. Gouzwaard’s creative process begins with the manual task of composing a paper model with color paper, acetate sheets of various degrees of transparency, and masking tape. These thin materials are cut, attached, and layered upon each other to form collages of abstract compositions. After setting up a collage, Goudzwaard realizes the compositions on the canvases with paint. He conceals the brushstrokes to make the surface of a painting appear smooth and thin while allowing the paints to imitate the texture of the paper model with eye-deceiving likenesses. Goudzwaard’s paintings are both naturalistic representations of humble materials and abstract arrangements of forms.
The present thesis applies the concept of the doppelgänger (the double), an identical existence that threatens to replace the self, to define the relationship between Goudzwaard’s models and paintings. The two are alike yet distinct, equally claiming the aura of the original as defined by Walter Benjamin (1892–40). This study further explores the different types of double expressed in Goudzwaard’s works, such as the effect of presence and absence as well as the positive and negative. The thesis aims to contribute to the analysis of the double in visual art, a topic that has attracted much scholarly interest in recent years.
The final chapter of the thesis focuses on the themes of mechanical motifs and archival imagery of Kees Goudzwaard’s art. The depictions of documents and references to book publishing simultaneously express the two themes. An examination of the history and material properties of tape and acetate sheets, two key materials that give Goudzwaard’s art the characteristic play of transparency and opaqueness, underlines the connection of Goudzwaard’s art with the avant-garde tradition of the early 20th-century.
Kees Goudzwaard’s painting reflects on what painting is, prompting the viewer to become aware of their engagement in the act of observation. The reflective experience grounds the audience in the present time and space in which he or she they confront the works.

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