離開伊甸，人類的心靈永遠流浪。
過去，殷切想望伊甸，也曾企圖自力營建。但慘澹耕耘之後，所得的竟是滿園苦毒的花樹。雖是如此，我始終確信伊甸仍在，只是去路阻斷而已。近年來親身的體驗是：只有確實的經歷一場「靈命的更生」才得悠遊其中。這一系列的作品不作神學的探究，也不是美學的寫景。它是純信仰的表白和出自心靈的頌歌。
Return to Eden(2004)
Away from Eden, soul of mankind goes astray.
In the past, I was seeking Eden eagerly and even trying to cultivate my own paradise. But all efforts turned out to be vain attempts for the harvests were poisonous flower and tree. Disappointed though I was, I still firmly believed that Eden is somewhere around only the path is hindered.
Recently, I experienced the miraculous taste of ‘Regeneration’ which brought me to Eden instantly.
This series of “RETURNING TO EDEN” relate to neither theological discussion nor aesthetic depiction. It is simply the confession of my belief and the praise from my heart.

04-01,60x80cm

04-02,60x80cm

04-03,60x80cm

04-04,60x80cm

04-05,60x80cm

04-06,80x60cm

04-07,60x60cm

04-08,60x60cm

04-09,60x60cm

04-10,60x60cm

04-11,60x60cm

04-12,60x60cm

04-13,60x60cm

04-15,60x60cm

04-16,130x200cm

04-17,130x200cm

04-18,80x80cm

04-19,80x80cm

04-20,80x80cm

04-21,80x130cm

04-22,60x120cm

04-27,80x60cm

04-29,80x80cm

04-32,130x80cm

04-33,80x200cm

04-34,80x130cm

04-37,80x130cm

04-38,80x130cm

04-39,130x80cmx3

相對於生命河的慈愛，這是我對上帝認識的另一面—–公義。那是讓人震懾的。就如哈巴谷3:3-4所說﹕「他的榮光遮蔽諸天頌讚充滿大地他的輝煌如日光從他手裡射出光線在其中藏著他的能力」。衪對我而言，這光絕對不同於「脚前的燈與路上的光」。衪的榮光充滿萬有讓罪惡無所遁形。是猛烈如火的、是毫不寬容的。就如同摩西在何烈山之所見。當時伴隨的是堅定如石的律法—就是審判。

Contrast to God’s grace shown in the river of living water, I regard the glory of God as a demonstration of His righteousness. It is as stunning as stated on Habakkuk 3:3-4:
…..His glory covered the heavens and his praise filled the earth.
His splendor was like the sunrise; rays flashed from his hand,
where his power was hidden.
To me, the glory of God is quite different with the” light on the path and lamp to the feet.” It fills the universe and no evil could be hidden from it. It is violent and unmerciful like the spectacle Moses saw on the Mt. Horeb.
It accompanies the granitic Law——–judgment.
Return to Eden—Glory of God (2006)

06-01,60x60cm

06-02,60x60cm

06-03,60x60cm

06-04,60x60cm

06-06,80x80cm

06-07,80x80cm

06-09,80x80cm

06-10,80x80cm

06-11,80x80cm

06-12,80x80cm

06-13,100x80cm

06-14,100x80cm

06-15,80x100cm

06-16,80x100cm

06-17,80x100cm

06-18,80x100cm

06-19,80x100cm

06-20,80x100cm

06-21,70x210cm

06-23,80x100cm

07-02,60x60cm

07-03,60x60cm

07-05,60x60cm

07-09,60x60cm

07-11,100x80cm

07-12,100x80cm

07-13,100x80cm

07-15,80x100cm

07-17,80x100cm

07-17,80x100cm

07-18,80x100cm

07-19,80x100cm

07-20,80x100cm

07-21,80x100cm

07-23,80x100cm

07-24,80x100cm

07-25,80x100cm

07-28,80x100cm

07-30,135x135cm

07-32,135x135cm

07-34,70x210cm

07-36,70x210cm

07-37,210x135cm

07-38,135x210cm

07-41,70x210cm

「生命河」不單是寫景更重的是表達了對聲音的感受。那河不斷的帶著永不止息的愛對人類發聲呼喚。創世紀記載伊甸園中有四道河在其中提供了物質生命之所需。只是在亞當犯罪之後人類的屬靈生命枯死這些豐沛的河水也不能救贖。「生命河」中所要表達的是一種「因信稱義並受聖靈」的平安與豐盛。也就是在約翰福音第七章38節中耶穌所說的「活水的江河」。
“River of Living Water” is a series of painting not only relate to images but also to sounds that impressed me most. Everlastingly, the river’s tender and loving voice murmuring to mankind . In Genesis, a river flowed out of Eden to water the garden, and there it divided and became four rivers. These four rivers provided the living creatures necessary substances. But after the fall of Adam, the river did nothing help to the spiritual life of human being. My works in this series intended to express the abundant peace from Christ Jesus —-the living water mentioned in John 7:38 .
Return to Eden—River of Living Water (2005)

05-30,200x120cmx3

 

05-31,130x200cmx2

05-32,80x130cm

05-33,80x130cm

05-34,80x130cm

05-35,80x130cm

05-36,80x130cm

03-38,80x130cm

05-40,130x8ocmx2

05-41,80x60cm

05-42,80x60cm

05-44,60x80cm

05-46,60x60cm

05-47,60x60cm

05-50,60x60cm

05-52,60x60cm

05-53,60x60cm

05-55,60x60cm

05-56,60x60cm

05-58,60x60cm

05-59,60x60cm

05-60,60x60cm

〔紙本壓克力作品〕
Acrylic on Paper

05-48P,40x110cm

05-49P,40x110cm

05-50P,40x110cm

05-51P,40x110cm

05-52P,40x55cm

05-54P,40x55cm

05-55P,40x55cm

05-56P,40x55cm

05-57P,40x55cm

05-58P,40x55cm

05-59P,40x55cm

05-60P,40x55cm

05-61P,55x40cm

05-62P,55x40cm

06-01P,(ca)54x39cm

06-02P, (ca)54x39cm

06-03P,(ca)39x54cm

06-04P,(ca)39x54cm

06-05P(ca)39x54cm

06-06P(ca)39x54cm

06-07P(ca)39x54cm

06-08P(ca)39x54cm

06-09P(ca)39x54cm

06-10P(ca)39x54cm

06-11P(ca)39x54cm

06-12P(ca)39x54cm

   

「凝視生命」並無法解決我的生命問題。終於在02年一次長達七天的禁食禱告中讓我真正的得到重生。因此在回到Victoria之後我準備了這次畫展。我將它定名為「歸真」也就是表現了在回歸真理後的新生，也同時確定了生命的歸宿。到這裡「生是生命，死也是生命」才真的落實了！更有趣的是當時Tom幫畫廊翻譯英文時用了Returning 這個字也正種了下一階段「重返」伊甸的契機。

Returning,” the English translation of the title for this exhibition, offers little more than a pinhole glimpse of the two characters in Chinese, which literally mean ‘return to unpolished jade (purity) and return to truth’ respectively. These two simple characters resonate wonderfully in Chinese, and the simplicity of “returning” may capture some of it by transference. Oliver Lin aspires to drop all affectation in a return to original purity and simplicity; to regain nature and thus to rediscover the true self.

03-01,70x210cm

03-02,210x70cm

03-03,210x70cmx2

03-04,130x200cm

03-05,130x200cm

03-06,200x130cmx2

03-07,55x110cm

03-08,55x110cm

03-09,55x110cm

03-11,55x110cm

03-12,55x110cm

03-13,55x110cm

03-17,70x70cm

03-18,70x70cm

03-19,70x70cm

03-21,70x70cm

03-22,70x70cm

03-23,70x70cm

03-24,70x70cm

03-25,70x70cm

03-26,70x70cm

03-28,70x70cm

03-31,70x70cm

03-32,70x70cm

03-33,70x70cm

03-34,70x70cm

在「時間」這個亙古的謎題上持續的探究一直是我作品中重要的思想底蘊。
過去的這十年中，這些困惑在基督教的信仰中一一的開釋。在此同時技巧的操作也更趨自由而成熟。就在這種內与外的因緣際會中，「夜間歌唱系列」於焉誕生！

「夜間歌唱」是醞釀已久而具體於08年的系列作品。04年之前在塵世的惡浪中載浮載沉。心靈的平安不時在攀上浮木之后隨著狂風蕩然遠颺。「重返伊甸」翻轉了生命的荒蕪。只是澄澈的心似乎更突顯了雙足的沾染。現世是漫漫的長夜。「夜間歌唱」正是上帝的眷顧與賜予。我喜歡英國詩人Robert Bridges的「夜鶯」。詩中鳥與人的對話。俗人以為牠必是來自風景如畫、輕風吹拂、百花怒放之處。其實夜鶯所生之處極盡惡劣。但是牠們定志不住歌唱，等待天明。

這一系列的作品有其深沉的神學底蘊。舊約約伯記第35章所記：「他(耶和華) 使人夜間歌唱」。文中的夜間無關日出日落。自亞當干罪以來，黑暗就在世界掌權。人只有回轉歸向上帝才能歡然歌唱而且是夜愈黑歌愈美！這種情境只有夜鶯差可比擬。我曾經意譯了Robert Bridges的The Nightingale：

夜夜宛轉深深心
此曲自應蓬萊傾
泉湧沃土沐昫和
錦簇茂林披繁星
君臆無端違所是
巉巉牛山多棘荊
吾心悄悄傷黎眾
入世詠歌待天明

夜鶯所在的世界十分醜惡但他們卻唱出最動人的歌來撫慰人心。
不同的是夜間歌唱中所延引出的「天明」是指基督再來為王之時！
在此之前現世中也只有信仰的光照能驅散黑暗，陽光只是餘事。

To contemplate the essence of time, the time immemorial enigma, is my persistent concern and is the basic theme of my art works as well. In the past decade when the Christian belief answered clearly all my puzzles and my techniques turned out to be free and mature at the same time. With such harmony of internality and externality , the " SONGS IN THE NIGHT" series were brought out naturally.

夜間歌唱Songs in the Night 2008

08-01,210x135cm

08-02,210x135cm

08-03,210x135cm

08-04,210x135cm

08-05,210x70cmx3

08-06,135x135cm

08-07,135x135cm

08-08,135x135cm

08-10,135x135cm

08-12,80x80cm

08-13,80x80cm

08-14,80x80cm

08-16,80x80cm

08-17,80x80cm

08-19,80x80cm

08-31,80x80cm

08-33,80x80cm

08-34,80x80cm

08-35,135x210cm

 

夜間歌唱Songs in the Night 2010

10-01,135x135cm

10-02,135x135cm

10-03,135x135cm

10-04,135x135cm

10-05,135x135cm

10-06,135x135cm

10-07,135x135cm

10-08,135x135cm

10-09,135x135cm

10-10,80x100cmx2

10-11,80x100cm

10-12,80x100cm

10-13,80x100cm

10-14,80x130cm

10-15,80x130cm

10-16,60x60cm

10-17,60x60cm

10-18,60x60cm

10-19,60x60cm

10-20,60x60cm

10-21,60x60cm

10-25,240x120cmx4

 

夜間歌唱 Songs in the Night 2011

11-01,240x120cmx3

 

11-03,90x40cmx3

11-05,70x200cm

11-06,70x200cm

11-07,70x200cm

11-08,120x80cm

11-09,80x120cm

11-10,80x120cm

11-11,80x120cm

11-12,80x120cm

11-13,80x120cm

11-14,80x120cm

11-15,80x120cm

11-16,80x120cm

 

夜間歌唱 Songs in the Night 2012

12-01,300x130cmx5.

12-02 130x300cm.

12-05,90x40cmx3

12-06,80x80cm

12-07,80x80cm

12-08,80x80cm

12-09,80x80cm

 

版畫prints

這段時間裡，我的畫以黑色為主而且很愛混色也極少用彩度高的單一原色。可能是物極必反，也可能是我靈魂深處所印植的色相不自覺的浮現。在88年我忽然很喜歡那些原色的亮麗感。於是，我玩起了比較容易入手的絹印版畫。恰好我不喜太過細膩因此照像製版不是選項。加上印的數量不多，因此做版就用腊筆、膠水、貼紙….. 自由自在。這在專家看來全然旁門左道，但有一點完全合於版畫的 principle的就是﹕沒有原稿。

In this period, my paintings were occupied by black mostly. Maybe it was developed in the opposite side when things became extreme; or those primary colors were deep-rooted in my soul and were buoyed up by spontaneous response. In the year of 1988, I fell in love with colorfulness. So I chose the easy-approaching silk screen as my new medium. Because I didn’t like to fashion my work with subtleness and I required only small quantity. So, the delicate photographically produced stencil was not my choice. I made the stencil by glue, pastel and pasting of paper. Such easy way might scorn by experts but one thing that accords with the principle is there was no original sketch involved.

SP002/88

SP-004/88

SP-005/88

SP-006/88

SP-001/89