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