論林 About Lin
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 impas to produced by white making the painting in a state of elegance and serenity.
From 1987, Lin’s works represented 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 a better 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.
王哲雄 (Wang Joseph C.H.)
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。
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 been ruined, 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 (1923-2012 ). 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 “unplanned scheme." 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 interested portion(s) by his imagination and discernment. 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. Besides the piling technique, he also employs 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.
But he fears also abandoning tradition and becoming a “rootless orphan", for he is wise enough to know that cutting off roots is sure death to the creative impulse. So he chooses to wend his solitary way, treading a delicate path between two conflicting schools, refusing to be restricted by the particular, narrow territory of either. By electing to follow the harder path he has attained a greater maturity and scope, and, fulfilled his lofty ambition to blend the two ways of thought.
And so he continues learning this valuable lesson: that diversity is not caused by form at all. Rather, that art is rooted in the spirit, which originates internally and dominates all….
Finally he realizes that art should be rooted in the deeper and wider soil of literature, music, ethics and other cultural dimensions. In turn the artist receives a gift greater than the sum of its parts—- a new mode of expression.
羅清雲 (Luo, Chin- Yun)
I remember when I first met him in my office. I was amazed at the 20 pieces of work he had unrolled before me. I was wondering how a beginner can reap such a technical mastery. Apparently, I can sense a flavor of Cubism, but I found no trace of any certain artist in it!
謝銀玲 (Sabina Hsieh)
After exhaustive lashings and washings, we can find a bit of self-expectation out of the previous “black jungle.” The un-humble self-reflection helped Lin to escape from the “Underground of Dostoyevsky.” Now, he buoys up from the immense surges of rationalism and with poetic pleasure he gallops in the realm of his rural living. This is what we savor from his 92’s series.
Huge brush strokes, layer on layer, create an astonishing momentum on the canvas. The increasing mental shocks are even stronger than ever before.
他的畫，大體上是抒情抽象表現（Lyrical abstract expressionism），以絢爛多姿采的語詞傾訴（或暢述）他溫柔敦厚的內在（空間），所以，怎麼讀怎麼耐，足可比美唐宋詩心。這說來倒是抽象畫欣賞上的餘事，於茲不贅。這裡特就「空間」主題替他的成就分三層一表，來做結尾：（1）幻覺具體，深度感宛然，而略不假借透視之暗示；（2）張力飽和，平面性實有而透明清澈，不稍落於平衡、和諧、變化之陳套；（3）密度亦即內容充分真實，脫出構成說的簡單邏輯。
Generally speaking, Lin’s work can be classified as Lyrical Abstract Expressionism. Based on a kind of brilliant narration out of his affectionate and inmost virtue, we appreciate the poetic atmosphere, to a certain extent, it is able to compete with those of Tang and Sung. As for the painting itself, I would like to mention a few in terms of visual spaces:（1.） Concretized vision and vivid depth are shown without the hint of perspective. （2.） Color field depicts of saturated tension and transparency without any stereotyped expression.（3.） Composition exhibits great intensity and is alien from logic of conventional structure.
Lin’s abstract is a fantastic mixture of musical sense and religious meditation⋯..
subtle Chinese character is clearly revealed though it is puzzling.
蘇文彬 (Su, Wen-Bin)
Inwardly, he inherited the Chinese literati tradition, but he chose the Western media to create. Though it is challengeable, he successfully harmonized those differences. Oftentimes, his introspection character flows from his meditative practice. He emphasized: “Form is not built by prearrangement. It is an outflow of collective cultivation.” This has parallel likeness with our ancient motto: “Excellent works comes from unspotted morality.” So, Lin tended to read a considerable variety of courses such as art, literature, philosophy, history, psychology and religious text. It nourished his artistic mind abundantly. With the intimate company of music, the impact is so significant that rhyme, tone, sonance, and intensity become ingredients of his elegant “aural vision.”
On the thorny path of art, Lin has spent half a century with enthusiasm. He chose abstract as his career and paid extremely attention on art theory and experimental work. He reaped ample and unfathomable harvests inwardly like undulating symphony penetrating the soul and motivating rapture. Lin defines himself as a hard-working and thought-exploring artist. He always discovers new ideals by continuous study and try. As a result, his personal language was refined. When a bottleneck of repeat came in 1979, he decided to choose an opposite way by trying the rigid and restrained Geometrical Abstraction. After a short time, he gave it up and confessed that it is not his style. Fortunately, then, he found the a-logical and unplanned automatic method. From then on, Lin enjoyed the “beauty of chance” achieved by inactive and emancipated discoveries. It opened up fresh possibilities with wide freedom. Afterward, he absorbed the idea of Post-Paintly Abstraction in 1983. This enabled him to reveal the actuality of the artistic materials in his works.
It seems that his spiritual activities were brewing in the stream of time and exhibited vividly on the canvas. The way Lin treated the light and shade was so intricate that the observers can savor the subtle transformation of it. The brightness and shade of the color field opened conversation between themselves and the differences revealed sharp contrasts when they reacted with textures. At the beginning, the dim light was shed and it lightened the gloomy tracks of spike and sear. These repeated strikes shaped a symmetrical form. (as shown in TRACKS OF TIME, POETIC OF TIME and THE REFLECTION OF TIME) Later on, the brightness and shade of different color fields interacted mutually. The fusion of light and color pervaded an unrestrained, brilliant and powerful atmosphere.(as shown in GAZE INTO LIFE) Afterward, Lin applied the bright color on the dull surface and when brush strokes mingled with the texture it created a subtle molecule vibration like bathing in the glimmering depth of the Universe or manifesting the eternality in an instant.(as shown in RETURN TO EDEN—THE GLORY OF GOD)
Such internal trip of returning reached the summit of his evolution in RETURN TO EDEN. It is a kind of rebirth to open up a new era so powerful as to shift the moaning of dark night to the praise of broad day. After such an ecstasy, life comes back to commonness—–a perfect cocktail of life and death; joy and sorrow; day and night. Then eternity is a linear integration of past, present and future.
吳桃源 ( Wu, Tao-Yuan)
The realization of life and death changes Lin’s art dimension—to cut off the old and graft onto the new. This foundation enables Lin’s transformation from realism to abstract. His new scope of abstraction is mostly derived from the spirit when he confronts a dilemma. The act of giving up the old self and immerses him in new identity heralds a new stage of creation, i.e. every different series is welling from his innermost thoughts respectively. In spite of the tough living like THE PEON FISH and THE FORSAKEN FOWL, Lin enjoyed the unpremeditated discovery to create. He believes that an artist must suffer like the spinning and shedding of a silkworm toward its cocoon.
After the struggling a new life is continuing. Likewise, every new adventure leads him to a territory of spiritual freedom and peace of mind. And as a result, the creative footprints and songs of praise remained.
孫旗 (Sun Chyi)
If you ask me how to define Lin’s work, my answer must be CHINESE CONTEMPORARY PAINTING for it holds an appearance of Western Modernism and the Chinese philosophic beauty of contemplation in the core.He sees important of the latter for outward form is nothing but a constructive medium to him.
With the deep rooted traditional culture, can a Chinese contemporary artist decide not to follow the West movement? If he does not stand firm, it is too easy to wash away by swift current of Epicurean Externalism. I am sure Lin was aware of it so he chose not to follow except the ever-changing pattern. He always targets the spiritual aspect by following his heart.
Beethoven wrote: From the heart⋯May it go to the heart. This could be a rule that Lin follows throughout his career. He worked in such a nature way that constant inspiration sprang up like abundant living water.
陳世長+賴威嚴 ( Chen, Shyh-Charng + Lai,wei-Yan)
A career artist needs something outside of art. Just like Lin’s abstract—a set of “psycho-images” with latent symbols that were orchestrated by his many personal discoveries and balanced by blending his belief and two extreme strains, rationality and emotionality. As a result, this complex vividly exhibits in the precision of his work and definite history.
Maybe it is difficult to define his work, but it provides clues to a possibility for modern art in a way by its reciprocal interaction of black (Ying) and white Yang), i.e. to shuttle in thread of the Western graffiti and handle the subtle connotation of Chinese image. We are amazed by the wise and hidden implication⋯.Those dexterous and eminent shapes inscribe a timely accomplishment of eloquent fable. We are attracted by his works and gaze into the mysterious element of the Orient colors which flow down like a piece of concerto. The color field is so intriguing that we can’t stop wondering to what it relates. Is it Day, night, vanity or reality? With those pending mysteries, we step into his artistic world which he intends to construct an intelligent civilization of 21st century through art.