黑 色 震 撼 畫家 中華民國現代畫學會理事長
陳正雄

抽象藝術是藉著基本的繪畫要素，來塑造新的次序與構成的「造形」世界。故抽象藝術旨在激發作者內在情感，而非描繪自然的皮相外貌或述說故事。它係藝術家內在經驗（Inner Experience）的一種強烈表徵，是一種視覺的隱喻（Visual Metaphor），而非視覺的敍述（Visual Narrative）。故本質上，抽象藝術是召喚的（Evocative），而非描繪的（Descriptive）。

林勤霖是一位默默從事抽象繪畫創作的青年畫家。十餘年來，雖然面對各種新藝術的衝擊和洗禮，他仍一直堅持著抽象藝術的創作理念。一九七九年以前，他的早期作品泰半以深沈蒼鬱的藍或紫藍色的基調，來構成其形、色的韻律與節奏感，塑造了抒情的寧靜畫面。這一時期的作品、造形雖然是抽象，然其意象與自然緊密結合，是傾向於「非形象主義」的抽象繪畫風格。一九八二年開始，他的畫風邁入了新階段，他不再追求過去以中國傳統山水畫為表現內涵的抽象風格，而選擇更純粹、更直接的抽象造形，用白色也比以前更單純、更強烈。他用純白的樹脂厚塗或倒進畫面，讓材質之特性凸顯，締造了強烈的視覺畫面──白色的世界，令人有一種聖潔、儒雅的感覺。

一九八七年，他開始作進一步的突破與探索，畫面上的強度與空間感逐漸增強，他運用噴槍、畫刀將壓克力系烤漆厚塗、噴灑、擦刮或堆砌於木板或畫布之上，而塑造凹凸有致、肌理變化豐富的畫面，頗有彫鏤之美、沈鬱、悲壯的內在世界。其近作畫風的改變，除了色彩之外，技法採用「自動性技法」，暢所欲言。因此，造形及色彩的濃淡變化較前強烈，顯示他對媒體與技巧駕馭力較前精鍊。他將抽象的概念與對音樂的感性和宗教的冥想一併揉入畫裡，創造了獨特的繪畫語言。我們不但可從他的黑色系列作品中感覺出空間的巧妙安排，而且還會感受到生命的苦悶與悲壯。

今得知林君將在台北市立美術館、高雄社教館及德國慕尼黑Kunster Block畫廊舉行一九八八年一系列個展，興奮之餘，特撰此文，做為他個展之祝辭。筆者藉此機會，期望今後林君的藝術創作能更加充實，並期能黽勉精進。 －Feb.1989

THE BLACK SHOCK
By Robert C.H. Chen
Chairman, National Association of Modern Art, Taiwan R.O.C.

Abstract art is a ‘plastic world’ reconstructed in a new order and structure by means of fundamental visual elements. It is aimed to stimulate the inner feelings of the artists instead of describing the outward appearance of the natural world or story-telling. It is intended as an intense expression of artist’s inner experience. Essentially, abstract art is evocative rather than descriptive. It is a visual metaphor instead of a visual narrative.

Oliver Lin, a young artist who has devoted his time to the creation of abstract paintings for more than ten years. He has never changed to keep pace with what is popular, though he has faced the impact of other new arts.

Before 1979, Lin mostly applied gloomy blue or purple as key tone to shape the poetic and tranquil composition with rhythmic harmony. At this stage, his canvases were abstract in style, but the images went closely with nature, and had a tendency toward ‘non-figurative’ paintings. Ever since 1982, Lin’s painting entered into a new stage. It is a harbinger of a new phase in his artistic development. He has no longer interested in questing for the expressive contents of traditional Chinese ink painting. He developed a pure and direct form in abstract. The heavy impasto produced by white making the painting in a state of elegance and serenity.

From 1987, Lin’s works represent a smooth transition of his abstract style from its early development to a new phase. His works began to reveal the intensity and space by using spray gun and knife. He sprayed and piled up heavy impasto on the wooden board or canvas as to make a strong and solid surface. The appearance of the painting was then well expressed Lin’s inner world of solemnity and melancholy with its embossment-like texture. Aside from coloration, his recent works applied ‘automatism’ to liberate color and form, which reveals his skilful command of media and technique than ever before. He has intended to concretize abstract concept by absorbing musical sensitivity and religious meditation to form his own painting language. From the series of ‘TRACKS OF TIME’, one can experience the subtle spatial arrangement and the tragic heroics of life.

I am delighted to learn that Lin’s solo exhibition will be held in Kunstblock Gallery, Munich. On this occasion, I wish Lin a great success and progress in the development in his art career.
Feb.1989

悲 愴 之 美
巴黎大學西洋美史博士/
台灣師大美術研究所教授
王哲雄

自從一九一二年康定斯基（Wassily Kandinsky）出版了一本「藝術的精神性」（Du spirituel dans l’art ）抽象繪畫理論著述之後，抽象藝術被視為是一種內在精神需求最直接的表達形式。繪畫也就不再是純視覺領域的「能見世界」，它寧為藝術家發自心窩深處的「精神層面」的寫照。

林勤霖的作品之「精神層面」是凝聚在對「時間的關懷」，然而他不是以未來主義所強調的「速度」（vitesse）及動力論（dynamisme）來詮釋時間因素在繪畫作品中的重要性，相反的，他是以「永恆性」（permanence）來反映時光的流逝，就像他的雜記所寫：「一具銷耗的石磨，一方破敗的墓碑；斷坦殘壁，落葉飄零。」所以在某些方面，他與西班牙畫家安東尼 .塔畢耶斯Antoni Tapies (1923~） 對時間的關注有類似的感受。這種辛棄疾式的憂戚、這種莎士比亞式的悲劇美，正是林勤霖新浪漫主義心緒的源泉。

基本上，林勤霖作畫的態度是建立在「不事先營設」的原則上，以超現實主義的「自動運作論」（l’automatisme），將顏料快速地在畫布上緃橫掃塗，讓「偶然意外」效果達到最高極限。等到他再度看到那「不經心」的畫面之時，「想像力」與「省視力」兩種相互制衡的常態心理，開始就既成的圖式，找尋他所需要的形，這是「發現」的過程。顏料不斷地往畫面堆疊，形與色卻越來越趨於單純和協調，最後漸漸地變成黑、灰、藍灰為主調的畫面。藝術家為了使「時間」因素更能透過材質的斑剝、突現或隱晦，表達他那一份悲愴的情懷，他不惜使用堆砌、噴灑、擦刮的技法，讓材質美有助於感情的駕馭。

就畫面的結構來說，林勤霖喜歡採用水平並列、垂直對稱、十字構成的架式，即使是浮凸在畫布表面而略成三角形的白色塊，依舊是循此原則排列。然而，林勤霖非常巧妙地利用噴槍噴霧的方法，將這種近乎機械式的結構，混溶成比較抒情的畫面，好比面對風雨蝕刻下的殘牆老壁，令人勾起一股染上淡淡憂愁的思古幽情。

如果在層次變化的處理上能夠更豐富、更周詳；該露骨的筆觸絕不保留，該含蓄的色塊就得深藏不露，其次，色彩方面也可以做某種程度的彈性調整，不要使每一張畫的感覺太接近，那麼林勤霖的抽象繪畫當可以為國內的現代藝術添上異彩。 －Feb.1989

THE BEAUTY OF MELANCHOLY
by Wang Joseph C.H.
Doctor of Western Art History Sorbonne Paris IV University
Professor of Arts Research Institute, National Taiwan normal University

Since the publication of ‘Du Spirituel dans l’art’ regarding the theory of abstract painting by Wassily Kandinsky in 1912, abstract art has been viewed as the most direct means to express one’s internal spiritual essentiality. Painting is no longer a ‘physical world’ of visual scope. Rather it is the exploration of spiritual realm deep in artist’s heart.

The spiritual aspect of Lin’s work focuses on the ‘solicitude of time.’ Yet, he does not intend to interpret the importance of time element by means of ‘vitesse’ and ‘dynamissme’ emphasized by Futurism. On the contrary, he makes use of permanence to reflect the passage of time as seen in his essay: “A worn-out grindstone, a fragment of an old tombstone, the cornerstone of a house long destroyed, a falling leaf with no place to rest…. .” Hence, in certain aspect, he cherishes a similar feeling on the solicitude of time as Spanish painter—Antoni Tapies (1923- ). Such melancholy of Chinese poet Hsin Ch’i-Chi and beauty of Shakespearean Tragedy are precisely the source of Lin’s Neo-Romanticism.

Fundamentally, Lin paints on the principle of ‘non predetermination." Based on theory of Automatism initiated by Surrealist , he spreads colors swiftly and works wildly on canvas to maximize ‘accidental happenings." When facing the aimless form on the canvas has been made, he selects and keeps the desired part(s) by his imagination and discerning power. This accomplishes the stage of “Discovery." With continuously piling up of colors, the appearance becomes more simplified and harmonious. Such procedure is repeated until the work dominated by black, grey and bluish grey. The artist strives hard to enable ‘time’ element to express the stain, bulge and obscurity of materials to create his specific melancholy. In order to attain such effect he employing the technique of piling up, spraying, rubbing and scrapping to allow the beauty of materials to work under the command of his emotion.

Lin likes to use parallel arrangement, perpendicular symmetry and cross shape in forming his structure even the white triangular patches are similarly arranged on the canvas. Lin is nevertheless, able to dexterously handle spraying gun to turn a nearly mechanical structure into a poetic grace to motivate the nostalgia of the viewer as to face a time-worn wall. If he can treat his painting in more variable and better planned manner to show what should not be hidden and to well conceal what should not be brought to light and if he can in some extent to adjust the coloration with flexibility to avoid possible sameness, Lin’s abstract painting would yield brilliant results on the nation’s modern art circle.