房子倒下了

 

 

The Collapsed House

acrylic

53.0 × 45.5 cm

2010 

 

 

房子倒下了

壓克力顏料

53.0 × 45.5cm

2010

 

 

泡泡浴

 

 

Bubble Bath

acrylic

53.0 × 45.5 cm

2010

 

 

泡泡浴

壓克力顏料

53.0 × 45.5cm

2010

 

 

消失卻存在的曾經

 

 

Once Being But Now Lost

acrylic

53.0 × 45.5 cm

2010

 

 

消失卻存在的曾經

壓克力顏料

53.0 × 45.5cm

2010

 

 

溫室

 

 

Greenhouse

acrylic

120.0 x 45.5 cm

2010

Private collection

 

 

溫室

壓克力顏料

120.0 x 45.5cm

2010

私人收藏

 

 

忘記名稱的莊園

 

 

The Manor with a Forgotten Name

acrylic

41.0 × 31.5 cm

2010

Private collection

 

 

忘記名稱的莊園

壓克力顏料

41.0 × 31.5cm

2010

私人收藏

 

 

咕雞樹

 

 

Cockadoodle Tree

acrylic

45.5 × 38.0 cm

2010

 

 

咕雞樹

壓克力顏料

45.5 × 38.0cm

2010

 

 

電視機

 

 

Television

acrylic

33.0 × 24.0 cm

2010

 

 

電視機

壓克力顏料

33.0 × 24.0cm

2010

 

 

雙單人床

 

 

Twin Beds

acrylic

100.0 × 80.0 cm

2010

 

 

雙單人床

壓克力顏料

100.0 × 80.0cm

2010

 

 

 

 

Elsewhere

 

In the production of this series, Lin collected several images of Western architecture and domestic objects from magazines and books. She subsequently cut and pasted them into a collage for the draft, creating a domain without a boundary, and then painted the final draft on the canvas.

These objects 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 process of clipping images from books and producing them into a draft reflects the source from which one acquires Western images—the media. Since the collaged draft was represented through painting, the Western images in this series seem to float in limbo and are detached from their background, forming a fractured, collaged and unrooted state, thus illustrating the non-local characteristics of these images.

The space and images on the canvas render surreal imageries. 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 and the process of drafting the collages as described above, Lin attempts to depict the alienation and lost state that the inner self comprehends o f reality, or even illustrate the symbols of desire for “complete W esternization."

 

 

塌方

 

在製作這一系列的繪畫創作時,林晏竹先蒐集雜誌與書籍媒體上許多關於西洋建築與室內物件的圖像,再將它們剪貼在紙上製作成草稿,在畫面中拼貼出一個沒有邊界的場域,而後將製作好的草稿描繪於於畫布。

這些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,而是為種種他者文化的象徵符號。

從書籍上剪貼圖像製作草稿的動作,反映出對於西方影像的獲得來源——媒體。加上因為透過繪畫方法再現拼貼製作的草稿的緣故,在此系列作品的畫面中,這些西方風格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,也恰顯示這些圖像非本地出產的特質。

畫面中的空間與圖像呈現出一種超現實的景象,林晏竹認為這樣的超現實並非藝術史中所指涉的夢境,對她而言則是內在的意識狀態,作品畫面即如內在場域的投射。畫面中不見在地性的符號,透過冷調的色彩與上述草稿的拼貼過程,創作者試圖描繪自我內在對現實環境的疏離、失落狀態,甚至是一種「全面西化」的慾望象徵。