文字會消逝嗎?書法藝術會消逝嗎?這些疑問形成不安的情緒，逐漸在筆者心裡滋長發酵，而原來生命中所堅信，不會改變的信念慢慢的崩解，反被巨大的疑問與恐慌壟罩包圍著。
在書法藝術式微的今天，筆者漸漸覺得書法藝術可能是會隨時光流轉而消逝的藝術，以如今工業現代化的社會來看，純粹手寫文字的時候越來越少，更何況是被歸類為傳統的書法藝術，真正接觸與了解的人更是少數群體。筆者透過這段解析自我情緒跌宕的歷程，進而轉變成創作過程，最後將情感感悟付諸作品，其表現形式跳脫傳統對書法藝術的觀念呈現出來，進入突破自我並創造不同於之前的自我創作。期望書法藝術不再只是少數群體自我欣賞的藝術，也能將書法藝術，或是加入轉變元素的書法書寫藝術感知傳達給觀賞者，能引起更多的，在書法藝術圈外的群體共鳴。
本文將從瑞士語言學家費迪南·德·索緒爾（Ferdinand de Saussure，1857~1913）和法國符號學家羅蘭·巴特（Roland Barthes，1915~1980）的符號學理論視角來探討筆者的作品表現。將文字符號化，文字或整篇文章的意義不再是其原本的意思，而代表筆者賦予的意義，成為筆者想傳達的意涵。將心理的不安、徬徨、糾結情緒融進作品裡，傳達筆者的感悟，作品欲以多元化表現形式與這個時代接軌，筆者查覺到自己是現代社會上的一份子，創作者的作品就是是一個與大眾交流的最佳媒介，而不是故步自封在自己的世界裡。
最後的自我解析回歸到，無論創作的形式，思想，理念的改變，都只是表象的改變，不變的仍是自我的初心，所有的不在傳統書法藝術上的作品，其背後都是因為有了入古才能出新的底蘊，才會出現新的、可行的，創新的，能進入現代並與他人交流的書寫藝術作品。

Will writing disappear in a foreseeable future? Will Chinese calligraphy art fade away? These two questions have aroused negative feelings in the writer's mind. Witnessing the progressive crumble of the firm and unwavering faith in life, the writer is beleaguered by such a gigantic doubt and enormous panic.
In the modern days when Chinese calligraphy art is on the decline, the writer starts wondering whether Chinese calligraphy will be the next to disappear as time goes by. In the modern industrial society, writing by hand feels almost antiquated, not to mention the traditional Chinese calligraphy art, which is only appreciated by a few groups of people. The writer tries to analyze her own emotions, and this self-analysis process turns out to be a process of self-creation, which is filled with emotions and sentiments. Its presentation is free from the traditional form of Chinese calligraphy art, and becomes a breakthrough which differs from the writer's previous works. The writer expects that Chinese calligraphy art should not be limited to a minority of self-appreciating groups, instead it should be widely appreciated by more audience, and further attracts more attention and feedback from outsiders.
This article starts from the semiotics perspective of Ferdinand de Saussure (Swiss linguist, 1857~1913) and Roland Barthes (French semiotician, 1915~1980) to explore the writer's artistic creation. By signifying texts, the texts or the whole article no longer hold the original meanings, but the new meanings given by the writer, becoming the implications of what the writer is trying to convey. Infused with the writer's psychological states: anxiety, hesitation, conflict, the creation successfully transports the sentiments of the writer, and reconnects with the time in diversified forms of presentation. Meanwhile, in this process of self-exploration, the writer perceives herself as a member of the modern society, and realizes that the best medium to communicate with the public is through creator's works, instead of resting on his/her own laurels.
Back to the self-analysis process, whatever changes with respects to creation forms, ideals or ideologies are only superficial, what remains the same is the writer's original intention. Thanks to the legacy of the old Chinese calligraphy art, new essences are developed, transforming it into the new, feasible, innovative and accessible modern writing art.

專書
1.何懷碩，《苦澀的美感》，台北市:立緒文化事業有限公司，1998。
2.宋光宇，《老子心解》，台北市:萬券樓圖書股份有限公司，2014。
3.沈偉，《書法與當代藝術》，杭州市:中國美術學院出版社，2015。
4.沃興華，《論書法的形式構成》，上海市:古籍出版社，2014。
5.徐永進，《解放書法》，台北市:大肚山文化事業出版，2007。
6.徐永進，《徐永進現代書藝》，台北市:蕙風堂筆墨有限公司出版部，2001。
7.徐冰，《徐冰我的真文字》，北京市:中信出版集團股份有限公司，2015。
8.歐陽中石等，《書法天地》，台北市:台灣商務印書館股份有限公司，2002。
9.趙毅衡，《符號學》，台北市:秀威資訊科技股份有限公司，2012。
10.尚恩･霍爾（Sean Hall），《這就是符號學》，台北市:積木文化，2015。

期刊論文
1.〈2015-2016傳統與實驗書藝雙年展〉，台北:財團法人何創時書法藝術文教基 金會，2015。
2.〈趣味的甲骨金文〉，台北:國立故宮博物院，2013。
3.〈夢我所夢草間彌生〉，台北:時藝多媒體傳播股份有限公司，2015。

網路資源
1. 草間彌生官網 http://www.yayoi-kusama.jp/ (4 Apr. 2017閱覽)
2.http://159.226.2.2:82/gate/big5/mtw.kepu.net.cn/gb/civilization/printing/evolve/evl132.ht
ml (1 May. 2017閱覽)
3. http://www.chonghua.or.th/tw/article/46.html(1 May. 2017閱覽)