《沒有名字的小傢伙》限量藝術公仔｜“The Nameless Little Guy” Art Toy
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| 1/20丨The Nameless Little Guy丨polyurethanes (PU), paint丨13 x 21 x 28 cm丨2018 1/20丨《沒有名字的小傢伙》丨聚氨酯, 設色丨 13 x 21 x 28 公分丨2018 Weight 3.1 kg |
「沒有名字的小傢伙」這個人物是在2006年, 我還在學院就讀時的版畫作品(圖1) 中便出現了。之所以「沒有名字」, 是因為我是想由它表現我個人複雜, 或是難以名狀的情緒與想法, 或我所經歷的一些事情; 但它也並不僅只指涉我自身，也可以代表有同樣或類似感受與經歷的任何一個人。正如心理諮詢師羅傑斯（Carl R. Rogers）說過：「What is most personal is most universal」。我們以為是很個人的某種經驗或感受往往也是許多人經歷過或感受過的，有著普遍性，因此我不給這個人物取一個特定的名字。它可說是我心中的孩子, 也代表著初心, 所以有著小孩般的體型; 它赤裸, 沒有武裝, 在這個危險的世界裡常常受傷, 所以身上包著繃帶, 貼著ok繃; 他有眼睛但沒有瞳孔, 看不清未來與真實; 它的黑眼圈是焦慮與失眠的象徵; 它沒有手指, 無法牢牢握住想要的東西。
這件在畫畫的小傢伙雕塑是根據2016年的一張小畫(圖2)為藍本製作。它低著頭用蹲姿在畫畫, 除了反映我畫畫有時會用的真實姿勢, 也暗喻著忍耐的過程, 期許未來能高高跳起。我畫畫時很容易不小心身上就沾到顏料, 便讓它全身濺了/沾了很多顏料, 我覺得那是與顏料相伴融合的投入表現。它的表情沒有很開心, 因為我覺得, 為了開心而畫畫是喜歡畫畫; 不開心還是想畫畫則是愛畫畫。
This character “The Nameless Little Guy ” appeared in my printmaking (picture 1) in 2006 when I was still studying in an Institute. It is "nameless" because I want to use it to show my emotions and thoughts that are complicated or beyond description, or some of my experiences. It not only implies myself, but also represents anyone who has the same or similar feelings and experiences. It is just as Carl R. Rogers, a psychiatrist, said, "What is most personal is most universal." Certain experiences or feelings that we think are very personal are often also experienced or felt by many people. These experiences and feelings have universality, thus, I don't give this character a specific name. It can be said to be a child in my heart and also represents a beginner's mind, so it has a naked, child-like figure and doesn't brace itself. It is often injured in this dangerous world so it wears bandages and plasters on its body. It has eyes but does not have pupils so it cannot see the future and reality clearly. Its dark circles are symbols of anxiety and insomnia. It has no fingers so it is unable to hold its desired things firmly.
This sculpture of a little guy drawing is made using a small painting (picture 2) in 2016 as the blueprint to be based on. It is squatting to paint with its head lowered. Besides reflecting my real painting posture at times, it also implies the enduring process, hoping that I can jump high in the future. It is easy for me to let my body be stained with paint accidentally when I paint, so I let its body be splashed or stained with a lot of paint. I think that shows engrossment in which paints are good companions. Its expression is not very happy, because I think that liking painting is to paint to be happy, loving painting is still wanting to paint in times of unhappiness.
圖1: 《捉迷藏》/ 腐蝕銅版畫 / 8 x 11.5公分/ 2006Picture 1: Hide n Seek / 8 x 11.5 cm / Etching / 2006
圖2: 《2015年12月8日》/ 複合媒材於素描紙 / 13 x 18公分 / 2015 Picture 2: 8 Dec 2015 / mixed media on sketch paper / 13 x 18 cm /2015
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| 2/20丨The Nameless Little Guy丨polyurethanes (PU), paint丨13 x 21 x 28 cm丨2018 2/20丨《沒有名字的小傢伙》丨聚氨酯, 設色丨 13 x 21 x 28 公分丨2018 Weight 3.1 kg |
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| 3/20丨The Nameless Little Guy丨polyurethanes (PU), paint丨13 x 21 x 28 cm丨2018 3/20丨《沒有名字的小傢伙》丨聚氨酯, 設色丨 13 x 21 x 28 公分丨2018 Weight 3.1 kg |
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| 4/20丨The Nameless Little Guy丨polyurethanes (PU), paint丨13 x 21 x 28 cm丨2018 4/20丨《沒有名字的小傢伙》丨聚氨酯, 設色丨 13 x 21 x 28 公分丨2018 Weight 3.1 kg |
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| 4/20丨The Nameless Little Guy丨polyurethanes (PU), paint丨13 x 21 x 28 cm丨2018 4/20丨《沒有名字的小傢伙》丨聚氨酯, 設色丨 13 x 21 x 28 公分丨2018 Weight 3.1 kg |
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| 林葆靈於2018台南藝術博覽會時與作品合影 |
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《沒有名字的小傢伙》在2017年12月號的《典藏投資》雜誌上露出 |
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《沒有名字的小傢伙》在2017年12月號的《典藏投資》雜誌上露出 |
〈Hey! 没有名字的小傢伙〉(English version below ↓）向來以藍紫色調描繪迷離神秘的城市夜景而著稱的藝術家林葆靈,創作面向不僅止於平面繪畫的探索; 大學時期副修陶藝的他, 一直都在醯釀著立體創作計畫, 今年已發表數件裝置作品,目前亦正在著手進行名為《沒有名字的 小傢伙》的限量藝術公仔創作。 在10月的台北藝博會, 一件《沒有名字的小傢伙》就已現身於索卡藝術中心的展區並吸引不少關注的目光, 這位令人眼睛一亮的小像伙,其實在林葆靈的創作脈絡中已經發展了逾10年之久・直至今年與索卡藝術中心ー同合作 予以立體化。 「小傢伙」的概念最早出現於2006年、是林葆靈還在藝術學院就讀時的版畫作品,信手括來一個抱膝蹲坐在地 上的人物。林葆靈將它視為自我的投射,一直以來多是以小品或塗鴉的形式呈現,反映出日常中難以名狀的各種情緒與想法。之所以「沒有名字」, 林葆靈引述知名心理諮詢師羅傑斯(Carl R. Rogers)所言:「 What is most personal is most universal. 」來說明, 「小傢伙並不僅指涉我自身,我也希望他代表有同樣或類似感受的任何一個 人。 公仔手持畫筆、蹲踞身子在專注畫畫的造型,是根據 2015年的一張小畫為藍本所製作。在公仔的設定上, 林葆靈以孩童的形象反映他的初心, 沒有武裝的赤裸身體, 也因而在這個世界上常常受傷, 所以貼著OK繃、纏著繃帶。公仔臉部簡化至僅剩眼睛,沒有瞳孔的一雙大眼看不清未來與真實, 而眼下明顯的黑眼圈是焦慮與失眠的象徵,也是現代人普遍有的困擾。 整體觀之, 這件公仔並非呈現出一般常見的討喜、可愛的快樂形象, 散發的氛圍卻也因此更耐人尋味。林葆靈認為,藝術家在尋求自我突破的過程中總不免會感到挫折, 創作最重要的是忠於自己、不要害怕面對負面情緒, 而傾注全副心力與熱情在創作的藝術家必然是「開心的時候畫畫是喜歡畫畫, 不開心的時候畫畫是愛畫畫」, 反映出他即使在難過時仍堅持握著筆繼續畫畫, 而身上沾染的 顏料也顯示出投入創作的渾然忘我。 《沒有名字的小傢伙》限量20版以及5件AP版, 立體的原型最初是由藝術家握製出約手掌可握的大小,再經由3D建模列印出28公分高的尺寸, 調整細節後再採用PU (聚胺酯)翻模。而不同於一般規格化的量產製作方式, 每隻公仔眼下的黑眼圈、身上沾染的色塊都會再由藝術家 手工上色、尤其是揮灑在身上的藍紫色顏料亦都會呈現不 一樣的分布效果, 也顯得各具特色。 這件藝術公仔一方面反映出藝術家自身的樣態;在另 一層面,也揭示出大眾在生活中會面臨的困難與堅持,極易讓觀者在心理產生共鳴。林葆靈也進一步表示,公仔低著頭用蹲姿在畫畫, 除了呈現自己有時候在畫畫時的姿勢,也暗喻著忍耐的過程,期許未來能高高跳起。而這件 藝術公仔也會在12月的台北索卡展覽現身,令人期待。 |
Yang, Wan-Ju (2017). “Hey! Nameless Little Guy.” Artco Investment, no. 122, p. 98.
Lin Bao-Ling, an artist renowned for his evocative depictions of enigmatic urban nightscapes in blue and violet tones, has long extended his creative pursuits beyond two-dimensional painting. Having minored in ceramics during his university years, he has been quietly developing plans for three-dimensional works; this year, he has already presented several installation pieces and is currently working on a limited-edition art figure titled Nameless Little Guy. At the Taipei Art Fair in October, one Nameless Little Guy figure appeared in the booth of Soka Art Center, drawing considerable attention. Although striking at first glance, this small figure has in fact been evolving within Lin’s artistic practice for over a decade, only recently realized in three-dimensional form through collaboration with the gallery.
The concept of the “Little Guy” first emerged in 2006, when Lin was still studying at art school, in the form of a print depicting a figure crouched on the ground with knees drawn to the chest. Lin regards this figure as a projection of himself. Over the years, it has mostly appeared in small works or doodles, reflecting the inexpressible emotions and thoughts encountered in everyday life. The reason it remains “nameless” is explained through a quote Lin often cites from the renowned psychotherapist Carl R. Rogers: “What is most personal is most universal.” In this sense, the Little Guy does not refer solely to the artist himself, but is intended to represent anyone who shares similar feelings or experiences.
The figure’s pose—holding a paintbrush and crouching intently while painting—is based on a small painting from 2015. In shaping the character, Lin adopts a childlike form to reflect his original artistic intention. The unprotected, naked body suggests vulnerability, often wounded in the world, hence the presence of adhesive bandages and wrappings. The face is simplified to only a pair of large eyes without pupils, unable to clearly perceive reality or the future. The pronounced dark circles beneath the eyes symbolize anxiety and insomnia, conditions widely shared in contemporary life.
Taken as a whole, the figure does not present the typically pleasing or cute imagery often associated with collectible figures; instead, its atmosphere is more contemplative and thought-provoking. Lin believes that in the process of seeking self-breakthrough, artists inevitably encounter frustration. What matters most in creation is to remain true to oneself and not to fear confronting negative emotions. An artist who devotes full passion and energy to creation is, in his words, one for whom “painting when happy is liking to paint, and painting when unhappy is loving to paint.” The figure reflects this persistence—continuing to hold the brush even in sorrow—while the paint stains covering its body suggest a state of complete immersion in the act of creation.
Nameless Little Guy is produced in an edition of 20, along with 5 artist’s proofs (AP). The original three-dimensional prototype was first hand-sculpted by the artist at a palm-sized scale, then enlarged to 28 cm through 3D modeling and printing. After refining the details, the figure is cast in polyurethane (PU). Unlike standardized mass production, each figure’s dark circles and paint marks are individually hand-painted by the artist. In particular, the splashes of blue and violet paint vary in distribution, giving each piece its own distinct character.
On one level, this art figure reflects the artist’s own condition; on another, it reveals the struggles and perseverance that people commonly face in life, making it easy for viewers to form a psychological connection. Lin further explains that the figure’s bowed head and crouching posture not only mirror his own stance while painting, but also allude to a process of endurance—an anticipation of one day being able to leap upward. The figure is also set to be exhibited at Soka Art Center in Taipei this December, an event much to be anticipated.
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| 小傢伙的身影也曾於2009年出現在《插畫設計市集306》～ |
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