林舜龍的界 以及他的越界

褚瑞基 / 文

林舜龍，一位在台灣藝術界已經熟悉超過二十餘年的名字，但他許久未曾辦過獨立的個人展。2021年的個展《田．介：此曾在．春》將是他首次傾吐過去數十年的藝術人生，並給予自己的藝術，一份新的期待。

「界」在甲骨文中來自「」 及「」的組合，前者為生產地域的圖像，後者則描繪「協議之人」的行為，於是其組合是一片土地，透過「」轉化上天意志，而所進行的一種關係協議。「界」的建立在人間事物間所期待的是一種恆常、平衡的關係，但相對於「界」的穩定，「越界」則是一種挑釁，也是禁忌，它的違逆所帶來的結果常會是悲劇。羅馬建城者羅慕拉斯（Romulus）殺死他的攣生兄弟雷慕斯（Remus），正是雷慕斯故意跳過羅慕拉斯所建造的一堵牆，這個「越界」的挑釁導致這死亡的悲劇，但也造就了羅馬建城的成功。一則死、一則生，生死輪迴說明宇宙運作的韻律，而輪迴所確保的是一股生生不息的力道，也給予生命重新找到前進的出口及機會。

在「田．介」中出現了一個「．」（一個點）；它所暗示的是一個建立人與天、人與自然之間關係之間的閥體（valve）。任何關係的運作如果沒有閥體，將無法運作；在機器內部中出現的培林、人身體中的關節，都是產生連接的閥體。在人類文明中，人們為了和上天建立關係，於是建造了金字塔、聖殿、教堂，透過這些建築，和上天之間建立溝通的渠道。人們認為唯有透過這些閥體的開啟，人界才可越界到達天界，而宇宙的訊息才會到抵人世。在《田．介：此曾在．春》展中，林舜龍手持越界的開關，「閥體」則是他手中的畫筆，而出現的訊息正是藝術。

《田．介：此曾在．春》展對於林舜龍，是曾經駐足後的跨越，由於許久未曾辦過個展，由一個過去的三十年創作生涯，再跨到下一個三十年，都是「界」之前的張望及猶豫。就在本展呈現的同時，「界」對林舜龍已不再是時間及肉體的界線，而是在已經「越界」之後的狂喜及分享。

春之狂喜下的邀約

入口處的作品〈春之狂喜─綻放〉（1995-2015）以及另一件作品〈春之蠕動─萌芽〉（2021），各自帶有「春」的隱喻，而兩件作品的創作，都有著時間的延續或時間的越界。（圖1）〈春之狂喜─綻放〉源自於林舜龍近三十年來創作的起點作品之一〈萌芽〉。〈萌芽〉中呈現植物的芽體由大地的稀薄土層中竄出，在相互禮讓中排列成秩序的韻律；而二十八年後這些芽體成了覆蓋大地的成株，成株長成茵蔓繁盛，同時其周遭不同的生命體系也開始茁壯；生命在寒暑的起落後終以交纏爭豔之姿舞出大自然恩典下的終極之舞，而其所舞出的，是每一個生命的絢麗青春，有的嬌豔、有的狂野，有的謙遜，有的狂妄。〈春之狂喜─綻放〉一旁的作品〈春之蠕動─萌芽〉則是對比「狂喜」的內斂景致，儘管不是展現外放的激情生命，但這些蠕動的小點點是真實生命的起點；它們是萌芽之前的悸動，也是所有絢爛之下真實的回歸。

在觀看林舜龍「春」的系列，直覺會聯想到文藝復興時期畫家波堤伽利的名作〈春〉（圖2）。這一幅為婚約而訂製的畫作，描繪愛情下萌芽的青春快樂，但也微微撩撥青春後的憂鬱。春去秋來的必然宇宙韻律，也暗示對於生命的謙卑。波堤伽利的〈春〉在五百五十年前透過維納斯的身體，不只是對於貴族家婚禮的獻禮，也暗示以人文主義對於貴族階級在歡愉下的德性教化；春之萌芽所期待的是身體在享受青春禮讚中，其同時「道德之美」也將萌芽及綻放。在展場中〈春之狂喜─綻放〉與〈春之蠕動─萌芽〉作品相對的一側，出現一件似乎和「春」主題不相干的作品：〈此曾在─你也在〉。這有企圖的位置安排，顯示林舜龍所描繪的「春之美景」，似乎也作為暗示藝術作為繁衍德性的美好想像。

〈此曾在─你也在〉是由數雙打開的手掌心組成，這些手掌中有一些金箔，並邀請每一位參觀者取用、量測自己的身高後，在牆上將金箔貼上，並寫上自己的姓名。打開的雙手暗示一種無私的提供、也暗示全然的接受，而身體高度的揭露及記錄，猶如一種交心的儀式，也提醒觀者對於「藝術」本質的深思。林舜龍在2004年之後大量投入公共藝術創作的過程，讓他對於藝術的本質有了巨大思維的變化，「公共性」相對於「藝術性」是這其中巨大的差異；他不斷以共創的「參與性」作為檢視以及打破藝術界線藩籬的嘗試。《田．介：此曾在．春》展覽中，除了展現林舜龍對於自己時代任務的連接，本展也企圖在藝術與觀者之間建造一道橋梁；這其中隱含藝術作為社會介入萌芽的期盼，也期盼藝術能成為由模量自己身體的開始，才有機會成為堂奧藝術訊息的真實傳播。

身體的樣態

身體是《田．介：此曾在．春》展覽中的核心創作，但身體在本展中多以破片、皮層及變形呈現。這些被剝離、蹂躪、包裹、扭曲、覆蓋以及殘碎的身體，傳遞的是一個歷經生命洗禮後的真實樣貌；它並不是用來控訴人生的無情，而是尋得超脫之前的掙扎。歌德在劇中透過浮士德說：「人生對於知識追求到頭來，竟然只剩下殘碎」；許多人生在其碌碌一生中，最終也只能在「殘碎」之前臣服，以求得真正的智慧。

完美的身體是柏拉圖世界中的宇宙原型，美的本質就是來自於身體的樣態及比例，於是維楚里亞人（Vitruvius Man）的方、圓、正三角成了自古以來被凝視下美的幾何體，這樣的完美之人沒有缺點，但也因此沒了慾望、也無情感。〈胎記的蛻變〉是被凝視下真正的林舜龍；他被石膏層層堆疊直到身體被封住，當肉體消失、呼吸幾乎消失，真正的他才得以顯影。石膏的石化性，是梅杜莎眼睛凝視下的永久及死亡，但這石化的身體的永恆卻不敵那「浮游朝生暮死」下溫潤的一口氣息。微弱的氣息震開的是層封的石化皮層。這「自畫」不是一份完成的結果，它只是一個過程、狀態。變動是自畫像創作者對於傳統「自畫像」的最大焦慮，因為傳統自畫像總想留住「當下」，並成為未來的見證。但林舜龍的「自畫像概念」沒有凍結，只有在時間中所留下殘影的堆疊。

林舜龍身體的「自畫像」是由數張蛻下的皮層所構成；玻璃纖維、厚紙、薄紙的皮層以及沾黏在皮層上的金箔，構成了林舜龍的歷史景致。蛻下的皮層暗示蛻變（transformation），既提示了生命的年輪，也暗示人生中不斷「越界」的現實性。「時間」是藝術創作中重要的主題；提香（Titian）著名的「自畫像」（又名〈謹慎的寓言〉，圖3）中的年輕（狗）、中年（獅）及老年（狼）三階段顯示的是生命時光的三階段，並夾帶背後所陳述的「謹慎」人生德行。「謹慎」是由過去的記憶、現在的智慧、未來的願景所組成，它不是在對於逝去過去的懷舊，而是在於要將人生時刻面對未來，以「謹慎」但積極的態度去面對。

藝術家的創作常和其生命歷程息息相關；教育、旅行及家庭常是醞釀創意啟發的原點，而傳統藝術家的「自畫像」常帶有傳遞給下一代的家庭德行或是教誨的積極訊息。對此展覽中出現的數組林舜龍「自畫像概念」或許也有其當生活中的即時反應；林舜龍家的幾位男孩年紀或大或小，都在經歷其人生成長及轉換的階段，「蛻變」雖是一種生命生心理下的必然過程，但經歷這過程也可能顛簸不順。面對自己成為孩子們的激勵對象，以這些「自畫像」樣態或許正是給孩子最親密的話語，或也傳達了人生智慧中難以言傳的奧義。

封印及死亡凝視

本展中，一件標註〈封印〉的作品對於林舜龍有其獨特的意義，因為這創作議題直指一個藝術家最常凝視的議題：死亡以及死亡之前的恐懼。

〈封印〉連接了瑞典電影大師柏格曼的巨作《第七封印》。電影描繪身心創傷甚重的十字軍東征武士在返鄉時，對於其信仰及人性產生了極端懷疑。武士在與死神對弈的過程中，他透過歸途中接觸到的人們以及他們的人生，檢視自己存在的意義。最終，他找到感動他的力量就在於「就這樣開心地活著吧」！

「被封印」以及「解封印」是不同的兩個方向；一個方向是將人性層層覆蓋，使其成為不可被穿透；另一個方向則是剝開它，使其返回原樣。林舜龍的〈封印〉作品是藉著對望《第七封印》中那一位困惑的武士，也讓他成為對弈死神的藝術家。這場對弈是重新發現自己的奮戰，這是一場毫無保留對於自己開解的戰鬥。在這對弈的戰場上，對弈的兩方都是林舜龍，他的對手就是他自己；他知道唯有真實面對自己，自己才會回饋其真實的生存意義；也唯有找到那一個不斷被世俗所困惑的初心，這場賽局才會結束。

天真的智慧及「母親」的渴望

藝術家在時光的記憶刻痕中成長，不斷抓取，雖沒有人能抵抗時光的引力，但卻也在臣服在其下獲取生命的滋潤。六十二歲，是一個怎樣的年紀？六十二歲的林舜龍，是一個有著初老的身軀但卻掛上青春腦子的人吧！？但這樣的描繪可是違反生命自然定律，就像死而復生般的荒謬。

展品中的一件作品〈62/1〉（圖4）就是這樣的非自然；這是一座一歲幼童林舜龍被塞入開解的六十二歲林舜龍軀體內的奇異雕像。這「併置」（parataxis）的狀態描繪了一份超現實的奇想：如果能有一副能夠在過去與現在、青春與老陳、天真與智慧、想像與世故之間隨意轉換位置的身體，那有多好？！

幼兒的超越性想像是無數藝術家追求的創作道法，許多抽象畫派、超現實畫派畫家們崇尚這樣的天真，甚至試圖透過各種解放意識的方法，尋求天真的啟發以及創意的提升。義大利哲學家維科（G. Vico）的名言「無知為創作之母」中的「無知」，或許就是描繪出的藝術創作這終極之道。

〈62/1〉這作品一方面解釋了林舜龍的創作道法，一方面也說明了林舜龍的創作焦慮。他期待他隨時能傾聽他身體內部那一位一歲孩子的聲音，但這老化的軀殼、不斷增生的繭皮、退化的耳目似乎也離傾聽益加遙遠。〈62/1〉這作品中雙目緊閉的六十二歲身軀專注地傾聽那一位活在他體內中嘴巴開啟的一歲孩子發出的聲音，他似乎焦慮地深怕漏掉孩子能夠教導他的任何隻字片語。

林舜龍自從2009年參與了越後妻有藝術祭之後，持續不缺席地參與了每一屆的越後妻有以及瀨戶內國際藝術祭。其中2016年的〈跨越國境．潮〉（圖5）由一百九十六位以海砂漿捏揉而成的孩子雕像所組成；他們立在沙灘上，並逐步被海水浸蝕而消融。當他們的身體逐步溶解後，體內的一朵潔白的玫瑰則開始露出，這景象像極了由一群墓塚上長出的一叢叢花朵。在2017年SNOWART雪季的作品〈等待春天〉（圖6）中，林舜龍的孩子群像們再次出現，這次他們出現在一座由人力疊起的雪山下，他們靜靜地站在一個一個的雪窟洞穴之內，而林舜龍在每一個雪精靈孩子們的「心臟」中都播下一顆沉睡中的水仙球莖。待嚴冬過去，積雪融化，落下的水仙球莖在春天來臨時開始綻放出美麗的花朵。

孩子總是林舜龍創作中常見的元素，而孩子就是他認知藝術必須回歸本我、回歸原點的期待。史學家雷柯（J. Rykwert）曾說：「當人遇到危機時，第一件事總先會回到母親」。「母親」是一個原點、一個起始；「母親」既是春天、也是孩子。當生活的周遭處處都充滿危機──暴力、疫病、歧視、氣候失控、社會失序，藝術人到底還能做些什麼事呢？藝術能帶我們回去嗎？能帶我們回到那最天真、最清純無憂的「母親」身邊嗎？在仔細端詳林舜龍這睽違二十年來的個展中，作品處處泛出一股回到原點、尋找「母親」的焦慮感。這展間到處充滿的悲憫、同情，以及一股尋求透過越界而找到再生（rejuvenation）的熱情。就用林舜龍所寫文章中的段落做為此展覽導言的結語：「希冀在這錯綜複雜的現象世界中，覓得一點蛛絲馬跡，可以在撥雲見日中看見天光，縱使只是一道閃光或是極其隱晦的微光，都會讓人成為「一」吧？！」是的。讓我們期待每個人都能找到他心中的那個「一」，而我相信林舜龍已經在天光中看到那一道成「一」的微光。

Transcending the Boundary by LIN Shuen-Long

Text / Ray CHU (curator)

Boundary

 Lin Shuen-Long, whose name is now well-known in Taiwan’s art circle, has never presented any solo exhibition. Therefore, his first-ever solo exhibition in 2021, Boundary – That-has-been．Spring — Lin Shuen-Long’s Retrospection from 62, is his first time to present his artistic journey spanning the past decades, a new and anticipated entry to be added onto his resume, marking his artistic achievement.

In oracle bone script, the Chinese character “界” (meaning “boundary”) is constituted of two components, “ ” and “ .” The former denotes an image of a productive field, and the latter depicts “a person engaged in negotiation.” So, the word indicates a relational negotiation between an area of land and the will of heaven by someone that is capable of manifesting said will. Through such negotiation between earth and heaven, what is expected of “boundary” in the human world is stability and permanence. On the other hand, “to cross a boundary” means provocation and taboo, and the violation of which often ends with death. The legendary founder of Rome, Romulus, struck down his twin brother, Remus, because the latter deliberately leaped over the walls he built. The “crossing of a boundary” led to the tragic death but also ushered in the opportunity to build Rome. The combination of death and life in the legend illustrates the permanence in the working of the cosmos. The cyclic operation ensures endless life while providing a chance to move forward through rebirth.

The point “．” in “田．介” is a valve or a hub that connects earth and heaven. Without opening this valve, the operation of relations cannot begin, leading to an imbalance between heaven and earth as well as the collapse of the human world. Everyone possesses his or her relational valve that connects heaven, earth, divinity and the human world. The “opening and closing” of this valve perhaps originates from rational judgment, such as science, or is rooted in the frenzy of some primal religion. In the mysterious, ancient Mayan culture, the “valve” was opened through the sacrificial rite performed on the Pyramid of the Sun; in the Middle Ages, the “valve” was embodied by churches, in which the architecture, light, glass, statues and hymns collectively formed a connection between heaven, earth, humanity and divinity.

 For Lin, this exhibition symbolizes his stepping forward after endeavoring in other fields. Moving from the past three decades of his career unto the next three decades, he has paused and hesitated in front of the “boundary.” However, as the exhibition is presented, “boundary” no longer means a temporal and physical demarcation for Lin, but denotes the ecstasy and sharing after “transcending the boundary.”

 Invitation in Spring Ecstasy

 Displayed at the entrance, Spring Ecstasy – Blooming (1995-2015, fig. 1) and Spring Movement – Germinating (2021) are both metaphorically associated with spring and convey the continuation of time or transcending temporal boundary. Spring Ecstasy – Blooming is inspired by one of the works marking the departure of Lin’s career nearly thirty years ago – Germination, which comprised plant sprouts arranged in a rhythmic, orderly fashion. Twenty-eight years later, the sprouts have grown into trees that cover the face of the earth, forming an ultimate dance of entangling, competing forms after the incessant cycle of seasonal changes. Spring Movement – Germination, on the other hand, forms a contrast to “ecstasy” with a reserved, quiet take. The tiny moving dots indicate the beginning of real life as well as what all splendors finally return to.

The most well-known work featuring the season of spring is probably the masterpiece by the celebrated Renaissance painter Botticelli, entitled Primavera (fig. 2, meaning “spring”). The painting, made for a betrothal, portrays the youthful joy of a blooming love as well as hints at the melancholic mood in the youthful days. Another interpretation states that the “beauty” of the era suggested in Primavera is not the beauty of material and desire prompted by our sensory and emotional faculties but rather the “moral beauty” heralded by humanism. In the gallery space, there is another work displayed on the opposite side to Spring Ecstasy – Blooming and Spring Movement – Germinating: That-has-been – You have been.

That-has-been – You have been is constituted of several pairs of open hands. In the palms of these hands is some gold foil. The artist invites every visitor to measure their own height and paste the gold foil to mark their height on the wall before leaving their names at the end. The open hands suggest selfless offering as well as complete acceptance. The disclosure and documentation of people’s heights create a ritual of symbolically opening up one’s heart to others, reminding the audience to contemplate on the nature of “art.” After 2004, Lin has extensively engaged in the creation of public art projects, which fundamentally changed his thinking about the nature of art. It made him realize that there existed a great disparity between “publicness” and “artisticness.” Since then, he has consistently used “participation” in co-creative work to examine and break down the dividing boundary of art. Boundary – That-has-been．Spring not only demonstrates how Lin has answered to his missions in different eras, but also attempts to create a bridge linking art and the audience, in which lies the anticipating germination of art as social intervention. It is hoped that art can begin with measuring one’s own body to really serve as a channel to spread the profound messages of art.

Appearances of the Body

The “body” is the creative core of this exhibition; however, it is shown as fragments, skin layers and transfigurations. These peeled-off, tormented, enwrapped, twisting, covered and broken bodies convey the realistic appearances resulted from the vicissitudes of life. Nevertheless, they are not presented to accuse life’s cruelty but to display the struggles before achieving transcendence. In his work, Goethe speaks through Faust that “the pursuit of knowledge only ends in broken pieces.” Throughout their life, many people are caught in never-ending hustles and bustles; eventually, they can only bow down to the fragments they have found and uncovered real wisdom.

The perfect body is the cosmic prototype in Plato’s world. The nature of beauty originates from the appearance and proportion of the body. For this reason, the square, circle and equilateral triangle in the Vitruvius Man have become the embodiment of beauty in the human gaze since the ancient time. Such a perfect human has no flaws, and therefore, lacks desires and feelings. The bodies shown by Lin are nowhere near perfection. (Overweight? Ill-proportionate?) The Drifting Self-portrait (p. 34) visualizes his real self under his gaze. Layers of plaster are piled on top of one another until the body is sealed. When the body disappears and breathing stops, the real him is soon revealed. The fossilizing quality of plaster represents eternity and death brought on by Medusa’s gaze, but the eternally fossilized body is defeated by the puff of air that sustains the “drifting, ephemeral life.” The faint but warm breath shatters the fossilized layer of skin, only after which the real self can be seen.

This “self-portrait” is not a finished result but rather a process and a state. Changing has always been self-portrait painters’ greatest worry when creating traditional “self-portraits.” The “now” they want to preserve is a frozen appearance for the future generations to see. However, Lin’s “self-portrait” is veiled by a drifting, hazy glow that seems to suggest a dialogue about survival. The image of Lin in his “self-portrait” is not expected to become an accurate proof of “history”; instead, it allows his friends to feel physical pulse and warmth. His self-portrait does and will not last forever, but it unveils the beauty of the traces of time.

The “self-portrait” featuring Lin’s body comprises multiple layers of shed skin made with FRP, thick paper and thin paper, along with gold foil that is added on top of the layers. Shedding skin implies transformation, which not only hints at the markings of life but also the endeavor to transcend boundaries. “Three layers” is an important subject in artistic iconography. The well-known “self-portrait” by Titian (1488-1576), An Allegory of Prudence (fig. 3), shows three stages in life, which are youth (dog), middle age (lion) and old age (wolf), together with the implication of “prudence.” Prudence is constituted of three aspects: memory, wisdom and vision. The combination of the three aspects helps steer our action. In this regard, the work does not look backwards into the past with a sense of nostalgia but rather look forwards into the future with circumspect and anticipation.

The concept of the self-portrait on view in this exhibition can also be read as a timely reaction to his life. Lin’s boys, young and younger, are now undergoing a transitioning stage in life. “Transformation” is an unavoidable phase in life, and these “self-portraits” form an intimate talk to his children, and perhaps convey indescribable secrets of wisdom about life.

Seal and the Gaze of Death

The work Seal (p.32) showcased in this exhibition carries a unique meaning for Lin because the subject matter refers to a topic that an artist would most often contemplates on: death and the fear before its arrival.

Seal is directly associated with Swedish cinematic maestro Ingmar Bergman’s work,The Seventh Seal. The film depicts a knight returning home from the Crusade. Physically and psychologically traumatized, he falls into an enormous doubt about faith and humanity. During a game of chess against Death, the knight re-examines the meaning of his own existence through his encounters with people and their life stories on his way home. Eventually, he realizes the power that really moves him is “living happily as is!”

It is extremely difficult for someone to retrieve the innocent, child-like state of mind after having experienced the vicissitudes in life. Although “one who has seen the vastness of life can hardly be impressed by something ordinary,” it is never the magnitude of life that makes an impression on one’s mind but the gaze into one singular moment that is the most precious. In the Book of Revelation, it is stated that when the seventh seal is broken, humankind will face the full-on judgment. The seven paintings comprising Seal serve as Lin’s interpretation of human desires and the various aspects of life. In this case, the paint that covers up his face becomes the sealing imprint.

“Being sealed” and “breaking a seal” represent two opposite directions: the former implies covering up humanity with layers forming an impenetrable seal, whereas the latter indicates removing said seal and restoring humanity back to its original state. Through gazing at the lost knight in The Seventh Seal, Lin assumes the role of an artist playing chess against Death in Seal. The creative life of an artist is usually not a smooth sail. The ups and downs are hardly avoidable. One might suffer frustrations due to fear, and might be depressed due to failures. In this game of chess, Lin plays both players. He knows that only by finding the very meaning of his own life as well as his original intention that is constantly led astray by fear and the secular world could he end this game of chess and discover a new direction in his life and art.

The Wisdom of Innocence and the Longing for the “Mother”

Artists grow with the traces of memories in time through constantly capturing these traces. Although no one can resist the power of time, once people surrender to it, they can receive the nurturance of life. What is being sixty-two like? Lin, at the age of sixty-two, is probably someone who has an aging body but with a youthful mind. Nevertheless, such description seems rather absurd and defies the law nature, as if death could be delusionally reverted.

One of the exhibited works, 62/1 (fig. 4), is indeed non-natural. Juxtaposing the body of a deconstructed, adult Lin Shuen-Long and the full body of a toddler Lin Shuen-Long creates a “parataxis” that pinpoints Lin’s imagination of existence and its nature. How nice would it be if one had a body that could freely switch between past and present, youth and maturity, innocence and wisdom, as well as imagination and worldliness?

The linking between the inside and outside as well as the integration of the past and the present, along with the conflicting tension unfolded therein, instantaneously intensifies Lin’s anxiety about artistic creation. While facing the aging (creation) of his body and expecting its rejuvenation, he also longs for returning to the child-like origin. Despite their naïveté, the transcending imaginative power in children’s immature mind has informed the creative approaches of innumerous artists. Philosopher G. Vico once said, “ignorance is the mother of creation.” Here, “ignorance” has powered the artistic quest of many artists – abstract and surrealist painters have all endeavored in searching for the primal creative force through freeing the conscious mind. However, Lin’s approach in art-making is not to mechanically pause the working mind and intellectual activities but to consistently listen to his “inner child,” who has been whispering stories in the artist’s ears, and prattling wisdom that awaits grasping.

Since Lin’s first time being showcased in the Echigo-Tsumari Art Field in 2009, he has participated in almost every edition of the Echigo-Tsumari Art Field and the Setouchi International Art Triennale. Among these works, his Beyond the Border – Tide (fig. 5) in 2016 was constituted of one hundred and ninety-six children made of sand, who stood on a sandy beach only to be gradually brought away by sea waves. When their bodies slowly crumbled, white roses on rusted iron structures were revealed from inside their bodies little by little, as if they were fresh flowers growing on graves. His Waiting for the Spring (fig. 6) created for the SNOWART 2017, once again, featured the subject of children. One by one, they appeared, quietly standing in snow caves under a man-built snow hill. At the “heart” of each of the child snow fairies was a daffodil bulb. When the snowy winter passes and the snow melts, the life fell into the ground will grow and bloom in springtime, blossoming into wonderful life.

Although “little child” has been a common element in Lin’s work, it is simply a creative motif, of which the core concept stems from the hope to return to one’s true nature. I have always remembered the following words uttered by J. Rykwert: “When human beings encounter crises, the first thing we do is always to go back to our mothers.” “Mother” symbolizes the beginning, the origin. “Mother” is the spring as well as the child. When it seems like everywhere we turn nowadays is filled with crises – violence, epidemics, discrimination, unpredictable climate, social disorder – what can an artist do exactly? Can art bring us back to the origin? Can it take us back to the “Mother” that is the untainted, worry-free origin? Closely examining Lin’s first solo exhibition after two decades of artistic efforts, it is clear that his work is permeated with a sensibility associated with the longing for the origin, the “Mother.” This exhibition is informed with a sense of kindness and compassion, and at the same time, mixed with his passion to seek rejuvenation. The following few words from Lin’s article serve as an ideal conclusion to this exhibition introduction: “I hope to find traces in this complicated world of phenomena that can help me see the light behind the shadowing clouds. Even if it is only a flash of lightening or a faint glisten in the dark, it might help us become ‘one.’” Indeed, let’s hope that everyone can find the “one” that Lin describes, and I believe that Lin has already seen that faint glisten in the sky that allows him to become “one.”