無法而法，乃為至法 ———– 石濤
基本上，我的創作雖是以抽象的形式踵繼西方先驅者的腳步但精神的內涵上卻不離中國的文人本質。 由於早年的學習環境容許我悠遊於東西之間而引發了我思索中國藝術的傳統與未來的課題。曾在97年寫了一篇名為《破落的桃花源》(連結: 林論) 的文稿敘述了自己的想法，同時也身體力行的作了一些具有實驗性的作品。有趣的是由於之前在台北美術館發表了實驗性的水墨作品，我竟然在幾本台灣的美術史書中被歸類為「水墨畫家」。這些作品容或有些離經叛道但可以肯定的是我對傳統的尊重與善意！
Rebeldom ———————————- Color Ink
No rule is the best rule.
Stylistically, one can trace my nonfigurative works back to the Western masters. But spiritually, you can source them from Chinese literati. Thanks to the academic environment of my early stage for it provided me with good chances to browse freely on the territory of East and West. As a result, it prompted me to ponder over the past and future of Chinese art. In 1997, I wrote an article entitled “Demolition of Tao Paradise”(Link to: By Lin) to express my viewpoints about Chinese Art. At the same time I tried my best to work my idea in practice. It is interesting that in spite of my expertise, I was classified as an ink painter in several books of Taiwanese art history. It possibly resulted from my experimental ink paintings which have been exhibited in Taipei Fine Art Museum long time ago. To compare with the traditional style, these works may rebel against orthodoxy in a way. But in fact, I sincerely treat our tradition with high respect.