房子倒下了

 

 

The Collapsed House

2010

Acrylic

53.0 × 45.5 cm

 

 

 

 

房子倒下了

2010

壓克力顏料

53.0 × 45.5cm

 

 

 

泡泡浴

 

 

Bubble Bath

2010

Acrylic

53.0 × 45.5 cm

 

 

 

 

泡泡浴

2010

壓克力顏料

53.0 × 45.5cm

 

 

 

消失卻存在的曾經

 

 

Once Being But Now Lost

2010

Acrylic

53.0 × 45.5 cm

 

 

 

 

消失卻存在的曾經

2010

壓克力顏料

53.0 × 45.5cm

 

 

 

溫室

 

 

Greenhouse

2010

Acrylic

120.0 x 45.5 cm

Private collection

 

 

 

 

溫室

2010

壓克力顏料

120.0 x 45.5cm

私人收藏

 

 

 

忘記名稱的莊園

 

 

The Manor with a Forgotten Name

2010

Acrylic

41.0 × 31.5 cm

Private collection

 

 

 

忘記名稱的莊園

2010

壓克力顏料

41.0 × 31.5cm

私人收藏

 

 

 

咕雞樹

 

 

Cockadoodle Tree

2010

Acrylic

45.5 × 38.0 cm

 

 

 

 

咕雞樹

2010

壓克力顏料

45.5 × 38.0cm

 

 

 

電視機

 

 

Television

2010

Acrylic

33.0 × 24.0 cm

 

 

 

 

電視機

2010

壓克力顏料

33.0 × 24.0cm

 

 

 

雙單人床

 

 

Twin Beds

2010

Acrylic

100.0 × 80.0 cm

 

 

 

 

雙單人床

2010

壓克力顏料

100.0 × 80.0cm

 

 

 

 

Elsewhere

 

 

In Elsewhere, the objects on the works do not belong to a certain background or chronological context: some belong to the Greek and Roman style, some are Medieval manors, some are Baroque or Neo-Classical, while some styles were developed after the 20th century. They do not refer to a specific historical era, but are symbols of various other cultures. The objects seem to float in limbo and are detached from their background, forming a fractured, collaged and unrooted state.

The space and images on the canvas render surreal imageries in Elsewhere. For Lin, the surreality is not the fantasy land often being referred to in art history, but the inner state of consciousness. That is to say, the paintings are projections of the inner landscape. There are also no signs of local symbols on the canvas. Through the cold tones, Lin attempts to depict the alienation and lost state that the inner self comprehends of reality.

 

 

 

 

塌方

 

 

〈塌方〉系列中,畫面物件並沒有背景年代的脈絡關係:有些是希臘羅馬時期風格,有些是中世紀的莊園建築,有些是巴洛克風格,有些則是新古典主義,或是20世紀之後的風格物件等。它們沒有歷史年代的指涉,卻是為種種他者文化的象徵符號。這些物件的圖像有如漂浮於混沌之上,與背景脫節,形成斷裂、拼貼、非扎根的狀態。

企圖在〈塌方〉的空間與圖像呈現一種超現實的景象,這樣的超現實並非藝術史中所指涉的夢境,而是內在的意識狀態,作品畫面即如內在場域的投射。畫面中不見在地性的符號,透過冷調的色彩,試圖描繪自我內在對現實環境的疏離、失落狀態。