2022年10月20日

2022 ART TAIPEI 台北國際藝術博覽會





【2022台北藝博|#索卡藝術F05|參展藝術家|#林葆靈
林葆靈的作品以神秘浪漫的夜景著稱。他以製圖膠片為創作載體,讓顏料在之上恣意流淌,形成如夢似幻的暈染效果,完美融合了西方藝術的抽象與東方潑墨的氣質,呈現出帶有流動性與刻意模糊焦距的現代攝影感。
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▎展  名 Exhibition丨2022 台北國際藝術博覽會丨2022 Art Taipei
▎展覽日期 Time & Date丨
【貴賓預展 VIP Preview】
10月20日15:00-21:00
10月21日11:00-19:00
【公眾展期 Public Opening】
10月21日14:00-19:00
10月22日11:00-19:00
10月23日11:00-19:00
10月24日11:00-18:00
▎展  位 Booth丨F05丨索卡藝術 SOKA ART
▎地  點 Location丨台北世界貿易中心展覽一館丨台北市信義區信義路五段5號丨Taipei World Trade Center Exhibition Hall 1丨No.5, Sec. 5, Xinyi Rd., Xinyi Dist., Taipei City


林葆靈 /《東京夜曲》/ 壓克力與雲母粉於製圖膠片 /91 x 179 公分/2015
LIN Bao Ling / Tokyo Nocturne /Acrylic and mica powder on multi-media vellum /91 x 179 cm/2015




展出現場













2022年10月11日

自由的光芒 - 林葆靈個展自述 /The Light of Freedom



林葆靈 / LIN Bao Ling

在疫情肆虐的日子裡,常可聽到的一種抱怨是不能出國,覺得很悶,不自由。引發了我許多關於自由的聯想與思考。自由究竟是什麼?「創作自由」又是什麼?


One of the most common complaints during the raging of the pandemic is boredom and captivity due to overseas travel bans. This led me to ponder what “freedom” really means? What exactly is the “freedom of creation?”


獨居創作的生活,有時幾天沒出門,行動範圍往往只在工作室附近,很少離開台北市。沉浸在文學、動漫、影劇等,穿梭在他人與自己的創作世界裡,將自身帶入其中的各種角色,於是他人的創作世界與自身的創作世界產生某種程度的交融。長時間呆在工作室,對於不能出國或是單純的生活,並不感到不自由或無聊。每日畫著畫,也用陶土捏出自創角色「沒有名字的小傢伙」,有時也為他搭建場景,像是工作室裡的神,進行著造人與創世。神說要有光,我也在畫裡描繪了光,為了描繪光自然也得描繪影; 在部分立體作品中則直接運用了led燈。新的點子不斷湧現,忙於嘗試。經歷想法上的拉扯,摸索不熟悉的工法、材料與工具,解決創作上遇到的種種困難,彷彿是與「小傢伙」一起挑戰了種種難題。我想,尋找新奇事物未必一定要到遠方,那些不曾真正了解的周遭環境、人事物與自身的內心,也是值得探索的陌生領域,當感知敏銳時,所謂的尋常風景都不尋常;不管是生活或是創作,不被習慣與過多的執著所局限,願意嘗試新的東西,或許都可以視為一種對「牆外」的探索,對自由的追尋。


As a creator, I live a solitary life where I sometimes stay indoors for days. Normally I do not travel anywhere too far from my studio. I hardly ever leave Taipei City. Instead, I immerse myself in literature, animation, and drama, shifting between different creative realms, projecting myself into various characters while integrating my creative world with that of others’. I do not feel confined or bored from spending long hours at the studio and living a simple local life. Everyday, I draw paintings. I even created an original clay character called “The Nameless Little Guy,” continuously trying out new ideas in my mind. Through concept innovation and the exploration of new techniques, materials, and tools, I went on an adventure with “The Little Guy” as we took on many challenges together during the creative process. I believe novelty does not have to be found afar because we are surrounded by environments, people, events, objects, and internal states that are worthy of being explored. Nothing is ordinary to a sensitive eye. Perhaps the attempts to try new things in life and creation without being bound by habits or obsessions can be perceived as a quest outside the wall in pursuit of freedom.


雖然人在工作室裡,但可以通過想像去到許多地方,並試著把想像化為實體作品,現今的網路更延伸了人的視聽範圍,便於累積建構想像世界所需要的素材。然而想像也有其界限。創作者畫下的每一筆似乎都是受了學過,或看過的表現方式影響,思考的每件事亦同,沒法「無中生有」,只能用已知去想像未知,拼湊組裝見過的事物,延續著前人的足跡,試著努力再走的更遠一點點,或是在途中另闢蹊徑,又或將前人視為敵人,讓所謂的「反派」來成就所謂的「英雄」。世界上或許沒有什麼百分之百原創的作品,如同作家強納森‧ 列瑟(Jonathan Lethem)所說,「被稱為「原創」的東西,十之八九是因為人們不知其參考或原始資料來源。」認清自己想像與思考的局限性或許使人沮喪,但也使人謙卑。


Despite being physically in the studio, I can visit different places through imaginations and transform them into artworks. The Internet has expanded our visual-aural range and made it easier to imagine the world. However, imaginations are bound by creators’ previous learning, visual, and thinking experiences. Imaginations cannot be created from thin air as they are built on existing sensory experiences either by following predecessors’ footsteps to a further place, going down a different path, or taking an opposite direction that makes an “antagonist” the “hero.” Maybe there is nothing fully original in this world, like writer Jonathan Lethem said, “When people call something “original,” nine out of ten times they just don't know the references or the original sources involved.” While it may be upsetting to realize the limitation of imaginations and thoughts, it is also a humbling experience.


一些創作者常希望能有所革新。就像阿根廷/義大利藝術家盧齊歐·封塔納(Lucio Fontana,1899 -1968)認為,他藉由刺穿畫布與割開畫布「創造了無限的一維」。而「打破了畫布的空間好像在說:自此我們可以自由地做我們喜歡的事了。」他也意圖擺脫舊的繪畫形式與傳統的藝術觀念:「我似乎象徵性的逃離了畫布,但實際上,我永遠擺脫了畫面的枷鎖。」「刺」與「割」這種像是暴力破壞的動作,讓我想起畢卡索說過:「對於破壞的嚮往,同時也是一種對創造的嚮往。」也讓我聯想到《進擊的巨人》裡試圖通過暴力得到自由的艾蓮,以及《浪客劍心》裡為了創造新時代而參與維新革命,斬人無數的劍心。他們的行為似乎也可視為在打破框架,掙脫枷鎖。然而,通過同類相殘,他們最終讓自己或別人真正自由了嗎?攻擊別人也被人攻擊,揮出的拳與刀傷了別人的同時也可能傷了自己,存活下來的人似乎也難免身心都傷痕累累,會不會死去的人才是真的解脫?藝評家約翰柏格(John Berger)曾說:「所有的現代藝術家都認為創新才是接近真實的路徑⋯⋯只有在這一點上,現代藝術家與革命是肩並肩的:他們都起源於扯下陳腔濫調的渴望。」而作家高行健在〈作家的位置〉曾寫道:「... 20世紀藝術的革命家們一再宣告繪畫已死,或是反藝術,或是零藝術的來臨,而現今許許多多的畫家卻依然默默在畫。」若說藝術革命是為了追求藝術創作的自由,那現今的畫家是否就是處在不自由的創作環境中?


Some creators hope to achieve a revolution. For example, the Argentine/Italian artist Lucio Fontana believed he “created an infinite dimension” by cutting the canvas. The cut canvas seems to be a symbol of our freedom to do whatever we like from now on. Fontana also intended to break free from old-fashioned painting styles and traditional art concepts: “I escape symbolically from the painting and the traditional view of art, but also materially from the prison of the flat surface.” Such violent destruction of “slashing” and “cutting” reminds me of Picasso’s quote: “Every act of creation is first an act of destruction.” Furthermore, I also formed an association with Eren in Attack on Titan, who tries to earn freedom through violence, and the dauntless Kenshin in Rurouni Kenshin, who participates in Meiji Restoration to create a new era. These characters also demonstrate an act of breaking frameworks and escaping imprisonment. However, was freedom ever achieved by killing each other? The fist fights and knives in an attack may hurt others as well as oneself, leaving survivors injured and frustrated. Could death be the ultimate relief in such cases? As art critic John Berger once said, “All contemporary artists believe innovation is the only path to truth. This is a common belief held by contemporary artists and revolutionaries who aspire to get rid of old cliches.” On the other hand, writer Gao Xingjian wrote in The Position of the Writer, “The revolutionaries of 20th century art have repeatedly declared an end to paintings. Despite their claims for anti-art or zero art, many artists still quietly continue to paint.” If the art revolution is about pursuing the freedom of art creation, does it mean contemporary painters are currently working in confined creative environments?


都說「創作是自由的」,但絕對的自由,沒有任何限制有時反而令人不知所措。 演員/作家北野武在《北野武的小酒館》寫過:「自由這種東西,只有在一定程度的框架下才能成立。想幹啥就幹啥是一個没有框架的概念,在這個概念裡是没有自由的,有的只是混沌。」他以足球為例,有不能用手,球門框架等限制,如此不自由的運動還大受最不願被束縛的年輕人歡迎。他認為:「就像光與影,正因為是在不自由的框架中交戰所以才閃耀出自由的光芒。正因為重力把人拉向地面,所以人類才會有了那個永恆的飛天夢想。」這令我想到《海上鋼琴師》裡的主角1900,沒有人禁止他下船,但他決定一生都在船上生活,死也不願離開。他覺得他可以在88個琴鍵裡創造無限; 但陸地太大,選擇過多,令他無措。球員們和1900,似乎都出於自由意志,選擇了局限自己,並在局限中找到自由。


Although “creation is boundless,” sometimes it may be overwhelming to experience unrestrained, absolute freedom. As an actor/writer, Kitano Takeshi wrote in Kitano Takeshi’s Tavern: “Freedom needs to be built on some framework. There is no framework in the concept of doing whatever we want, hence this path leads to limbo rather than freedom.” Taking soccer as an example, Kitano explained that the sport is popular because it is bound by soccer goals and the rules of not using hands. Kitano believed “the competition between light and shadow in a framework of restraint is what creates the glimmer of freedom. This is analogous to how humans aspire to explore space because gravity keeps us on the ground.” I am reminded of The Legend of 1900, in which the protagonist, 1900, chooses to live his life on a ship despite any external forces preventing him from leaving. He believed he could create infinite possibilities with the 88 piano keys while the unknown life on land offers too many choices that are overwhelming to him. It seems like the soccer players and 1900 all choose to put on a limit out of free will, as they try to find freedom under such limits.


那麼,若說創作是沒有限制的,那創作不就反而不自由了?似乎,遵循著那自己常也難以釐清的內心真實想法,給自己設限制仍是需要的,但有時,或許也只是在把來自外界的各種想法主張,在覺察或未察覺間硬套在自身?然後誤以為那是自己內心的真實想法?,於是制約我們自己的共犯或主謀,常就是自己。能夠時常推翻自己想法,進行內在革命的人是否就更自由?但會不會根本就沒有自由意志?每個人都是如漫畫家筆下角色般的存在?所思所想,所作所為都是被決定的?


Does this mean it is not free to create without limitations? It seems like some restraints are still needed to clarify vague internal thoughts. Sometimes it is possible to unconsciously adopt external thoughts and mistaken them as our own thoughts. This is how we become the accomplice in misinterpreting our own internal ideas. In such cases, can people break free by overthrowing their internal ideas? Or free will is non-existent as everyone lives like comic characters with predetermined fates?


框架無所不在,而「執著」或許便是不自由的一大源頭,在執著於必須自由的同時便掉進了名為自由的框架,當不刻意追求自由時或許反而會得到自由,如同不會游泳的人在水中掙扎反而會沉,身體放鬆的狀態反能漂浮。這樣想的話,似乎只有對一切都不執著的人才能真正的自由吧?然而凡夫俗子如何能做的到?最終,我們只能在不自由的框架裡奮力追尋、戰鬥與掙扎,又或順其自然不抵抗,欣賞那虛幻的,偶爾閃耀出的自由光芒。


Under ubiquitous frameworks, perhaps “obsession” is the main source of limitations. People fall under the framework of freedom when they become obsessed with it. Freedom is something that cannot be achieved intentionally. For example, swimmers often sink when they struggle in water, but they can float when their bodies are relaxed. Maybe we can only truly be free when we let go of our obsessions. This is not easy for ordinary people. In the end, we can only choose between striving, fighting, and struggling under restrained frameworks or following the flow and admiring that illusive, occasional glimmer of freedom.

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#自由的光芒 – 林葆靈個展丨The Light of Freedom – A Solo Exhibition by LIN Bao Ling

▎展  期 Date丨2022/09/03 (Sat.) - 2022/10/29 (Sat.)
▎開放時間 Opening Hours丨週二至週六 10:00-19:00
▎地  點 Location丨#索卡藝術.台北丨台北市中山區堤頂大道二段350號丨Soka Art Taipei丨No.350, Sec.2, Tiding Blvd., Zhongshan Dist., Taipei City
▎聯  繫 Contact丨02-2533-9658

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【 #非池中 獨家專訪影片】

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2022/10/1 #畫冊發表座談 |Catalogue Release and Artist Talk
與談人:張瑋特 (金車文藝中心總監)
藝術家:林葆靈
直播存檔:

2022年10月9日

有一種光芒,叫自由 ——記我兒葆靈二三事 / A Kind of Light Called Freedom—Anecdotes About My Son, Bao Ling


文/蔡履惠

撰文者介紹

蔡履惠,南京大學海外(新加坡班)文學碩士。任職補教界二十多年,現為自由寫作人。出版兒童讀物2本,其他文體散見報刊雜誌

About the author

Leu Huey Chai. Master of Arts from Nanjing University Overseas (Singapore). She has worked in cram schools for over two decades and is now a freelance writer. She has written two children’s books. Her writings are often published in various newspapers and magazines.

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葆靈在幼小時就喜歡畫畫,當時我並沒有想到那就是他往後身心的寄託——進出畫裡畫外, 因為信筆塗鴉大抵是每個人兒時都會做的玩意兒,包括我自己。六歲那年,他畫了一隻動物,身上有條紋,看起來就像是老虎,特別的是那老虎是站著的。當時自立早報有發表兒童畫的欄目。我於是把葆靈的塗鴉定名為「老虎的條紋衣」寄出。結果發表了,我收存迄今。



As a young child, Bao Ling loved to draw. Back then, I did not realize that it would become the sustenance for his mind and body because doodling was what most children do, myself included. When he was just 6 years old, he drew an animal with stripes that looked like a tiger. What was special about that tiger was that it was standing. Back then, the Independence Morning Post had a column which featured children’s drawings. I submitted Baoling’s doodle with the title, “Tiger-striped Clothes,” and it was published. I still have that news clipping in my possession.


我喜歡寫文,涉及親子互動內容的,就讓他配圖。他總能選取重點,畫出對應的圖,有時還會加上對白,那時,他不過十二三歲。我在新加坡的補教界一待就是廿多年,期間葆靈多次替我的教材配圖,也在我為出版社編寫的華文課外練習本畫過封面。他所配的插圖,不但人物造型可愛,表情也生動有趣。尤其是那套我專用的漢語拼音教材,有同行一見便篤定地說,這一套如果流出去,一定會被盜用得一塌糊塗。導致我用來教課時總提著心,生怕教材會落入有心人手中。



I love to write. When it came to parent–child interactions, I often let Baoling illustrate my writings. He could always find the key points and draw corresponding images that complimented my pieces. Sometimes, he would add dialogue. At that time, he was only around 12 or 13 years of age. For twenty years, I was involved in the Singaporean cram school scene. During that period, Baoling often illustrated my teaching materials. He also drew the cover for the Chinese textbook I composed for a publisher. The illustrations he created were adorable figures with lively expressions. Those he drew for the set of Hanyu Pinyin teaching materials were especially so. A coworker saw them and told me with certainty that if that set of teaching materials came into the hands of others, it would doubtlessly be plagiarized. That comment ended up causing me endless anxiety every time I used it in class, fearing that ill-intended people would get a hold of it.






為了讓孩子們浸濡英語環境,又不脫離母語, 十三歲的葆靈兄妹仨被父母帶到新加坡。有一天,他自己動手製作一本圖文兼具的小書〈小馬歷險記〉,封面、封底俱全,用的紙張較內文厚,而且全裹上透明膠帶,防潮兼有保護作用吧。內頁是對開形式,左圖右文,方便對照閱讀。小小年紀就能如此用心、細心地完成一本書,這種精神真是令人動容。小書內容來自他哥哥口述的故事,寫的是馬爸媽年紀已大,馬弟弟以智謀勇救被巫婆擄走的馬姐姐,讓歡樂重回家庭的故事。這故事裡的友愛正好也反映在葆靈的生活中。


My husband and I decided to bring our children to Singapore to immerse them in an English-speaking environment while maintaining their connection to their mother tongue, Mandarin. That was how, at age 13, Baoling, his two siblings, and my husband and I came to reside in Singapore. One day, Baoling created a little book, Adventures of a Little Pony, with text and illustrations along with a front and back cover. The cover of the book was made with heavy paper and held together with tape, possibly for the purpose of protection and to make the book waterproof. The content had pictures on the left and text on the right to facilitate cross-referencing. It was touching to see him being able to create a book with such care. The content of the book was based on a story told by his older brother. It depicted a young pony whose older sister was kidnapped by a witch. Because the young pony’s parents were old, he must exercise his wits and bravery in order to rescue his sister, making the family whole and happy again. The friendship between siblings in the story was also reflected in Bao Ling’s life.


葆靈從出生就跟著我睡,有一次他睏極了,而我還在忙碌,他就在床榻旁的地板上靠牆而坐,問進出房間的我:「媽,好了嗎?要睡了嗎?」我看到他已睡眼惺忪卻還忍者等我就寢。這樣一個依戀母親的孩子,在八歲那年,他妹妹出生,從醫院抱回家的當晚,竟不發一語抱著枕頭自動去另一個房間睡,讓出他原本的床位給妹妹。他不只對自己妹妹如斯愛護,對別人也一樣。有一次鄰居家的小女孩被年長一點的男生欺負,葆靈挺身而出捍衛那個小女孩。這樣的正義感是天生的吧。


Bao Ling and I shared a bed since the day he was born. One day, he was extremely sleepy, but I was still busy. He sat on the floor by the bed, leaning against the wall, and asked me, as I was walking in and out of the room, “Mommy, are you finished? Are you coming to bed?” I looked at him adoringly with his sleepy eyes trying to resist his sleepiness while he waited for me to go to bed with him. It was this loving child, who at the age of eight, quietly hugged his pillow and went to another room to relinquish his sleeping spot after his younger sister was born. He was a caring child, not only towards his sister, but towards others as well. Once a neighbor’s little girl was bullied by an older boy, and Baoling stood up for her. His sense of justice was probably innate.


葆靈和他的哥哥最特別的一點是,他們都不在教育體制下成長和學習,也就是自學啦。自學在當年不見容於社會,所以當先父得知我們竟然不讓老大上學,十分生氣。等到葆靈也到了就學年齡, 他說:「前面那個就算了,這個一定要讓他上學!」然而葆靈的父親就是堅持:填鴨教育,不上也罷!於是,他們兩個大男人,從此成了絕緣體。


Bao Ling and his brother were unique in that they did not grow up educated in the traditional school system. Instead, they were home-schooled. Back then, home-schooling was not widely accepted by society. When my late father learned that we had not enrolled our oldest boy in school, he was furious. When Bao Ling came of age to attend school, my late father said, “I’ll forgive you for your decision about the oldest child. But this one must go to school!” However, Bao Ling’s father insisted that his children would not be forced into the traditional educational system. Consequently, after that, my father and my husband treated each other as strangers.


兩個兒子的學習,都由我啟蒙。我買來教科書,教他們認字、寫字、做算數等。忘了教到哪一年才放手,而我放手時 ,兩兄弟已能自主學習,也喜歡閱讀,尤其是漫畫。我愛古典詩詞,也讓孩子們背過一些。後來我興起教兩兄弟古文的念頭,徵詢他們的意見。葆靈願意,他哥哥則說不。有一個願意就行,不想學的也一定聽得到我們的背誦,因為我嗓門大,而二十多坪的房子肯定無法隔離我的聲音,無論學與不學都一樣吧。這是我打的算盤。多少年過去了,少年葆靈一板一眼背誦諸葛亮〈出師表〉的模樣,仍留在我的海馬迴裡。


I was in charge of home-schooling both my boys. I bought textbooks to teach them reading, writing, and arithmetic. I forgot exactly how many years I taught them. I relaxed when they were finally able to read on their own. They loved to read, especially comic books. I love classic poetry, and I let my boys memorize some. Later, I had an idea to teach them ancient Chinese prose. I asked them if they would like to learn. Bao Ling was willing to learn, but not his brother. I thought it was fine as long as one of them was willing. The one who did not want to learn would hear us recite the prose. I was loud, and my voice would spread to every corner of our 270 square foot home. It would not have made a difference if they wanted to learn or not, I thought. Many years have passed, but I can still remember young Bao Ling memorizing and reciting “Chu Shi Biao” by Zhuge Liang in a very serious tone.


外人不免認為自學的孩子,社交會有障礙。其實自學不是要你自閉,先夫當年經常帶著全家出遊,平日裡則是山間、運動場的常客。我們有段時間住在樹林鎮,當時家中門戶開放,讓鄰居小孩自由進出,甚至在運動場認識的小孩也會跟來,他們都叫我「媽媽」,也是葆靈哥兒倆在同齡親戚以外的玩伴。


People often assume that home-schooled children will have difficulty socializing. In reality, home-schooling does not mean the children will become autistic. My late husband often took the whole family out on trips, and it was typical for us to go hiking in the mountains or to go to sports fields. For a period, we lived in a forest town. We opened our house to neighborhood children and allowed them to visit freely. Even children we met at the sports field would come. They all called me “Mom,” and those who were close to their ages became playmates with Bao Ling and his brother.


不上學的日子,在臺灣是自由自在的。來到新加坡後,葆靈兄弟先在一間語文學校學習英文,後來進入加拿大國際學校就讀。如今想來,我依然感念這所學校,這是我為了孩子的居留四處碰壁後的一線生機,該校豁免我們提供在臺灣的學歷證明,直接進行面試和筆試。然後讓他們就讀高一部。這時是1999年。後來,先夫獲知劍橋O水準考試對私人考生開放了(考上等同具有中學學歷),於是讓二子離開國際學校到補習班惡補,以備應考。然而補習班代他們申請的學生證三個月到期後,移民廳就不批准了。這意味著兒子們必須以出境、入境的方式來獲得短期的落地簽證,這也將導致他們在補習班的學習時斷時續。


When not in school, my sons enjoyed a free and laidback lifestyle in Taiwan. When they moved to Singapore, the boys first attended a language school to improve their English. Later, they were enrolled in a Canadian international school. Thinking back, I am still grateful to this school. Other schools had rejected them, and it was the last chance for my children to stay with us in Singapore. That school waved the proof of qualification from Taiwan and instead interviewed them after giving them written exams. They were admitted to the 10th grade. This was 1999. Later, my late husband learned that the General Cambridge Education Ordinary Level was open to individual test-takers. (Passing the test would mean one is equal to having received a junior high school education.) Thus, my two sons left the international school and went to a cram school to study for the exam. However, after the 3-month student visa, provided by the cram school, expired, the immigration office denied them student visas. Consequently, my sons had to constantly depart and re-enter Singapore using landing visas. This resulted in inconsistent studies and attendance at the cram school.


我心裡發急,如何是好?當時我們在星國,遇事無可商量者,無可依靠者,我只好仰仗自己了。當下修書一封為孩子上訴。思及當時父子仨又在外「旅行」,我在信一開頭便不客氣地討功勞,寫道:「我為貴國做出貢獻……」提的是自己在1999年代表新加坡參加泛東南亞華語演講比賽,獲得季軍一事,為新加坡爭光。再提及自己得以編寫華文教材得力於兩個兒子,一個教我使用電腦,一個幫我配圖。「如果他們的學生證得不到延續,無法繼續居留,那等於斷了我的左右手,叫我如何再為貴國做出貢獻?」我也提及孩子在臺灣沒有上學,「不是他們的錯」(其實自學何錯之有?)可不是嗎?如今卻因此讓他們不能安安穩穩地在異國生活,教我情何以堪?事已至此,眼前唯有打動移民廳當局方可扭轉情勢。我在心情紊亂又力求鎮靜下,語氣忽軟忽硬胡亂出招,孤注一擲。


I was worried. We were in Singapore, and we did not have people to consult or rely on when facing difficulties. I had to rely on myself. I wrote a letter to appeal on my children’s behalf. At the moment, my husband and sons were “traveling” abroad, on yet another visa run, so I began the letter by crediting myself: “I have made contributions for Singapore…” I mentioned that in 1999, I represented Singapore and attended the Pan-Southeast Asian Chinese Speech Contest and won third place. Then I mentioned that I was able to compose Chinese teaching materials because of the help from my children, one of them teaching me how to use the computer, and the other illustrated my materials. “If they are unable to obtain student visas and continue to live in Singapore, it would cripple me by taking away my hands. How could I continue to make contributions to Singapore?” I also mentioned that the children did not go to school in Taiwan “due to no fault of their own.” (In fact, what was wrong with home-schooling anyway?) And yet, the lack of formal schooling resulted in their inability to reside peacefully in a foreign country. I could not bear it. I would have to move the officials at the immigration office to turn things around. I was frantic but tried to remind myself to calm down. My tone in the letter was sometimes pleading and sometimes forceful. I gave it everything I had.


日子在忐忑中,傳來補習班的消息,學生證批准下來了!


Finally, the cram school told us that the boys’ student visas were granted!

後來的事很值得書上一筆,那是孩子們十分爭氣,這樣紛擾的學習過程,還讓他們雙雙考過O水準,葆靈的華文和美術還考到A1。這是2001年間的事,這一紙證書是他們擁有學歷的開始。我有時想,如果留在臺灣,不必繞這麼多彎路早就順理成章地到手了吧?但較為漫長的這條道路也讓他們多看了些一般人看不到的風景。


What happened later is worth mentioning. My children did not let me down. Despite the turbulent study process, both of them passed the Ordinary Level. Bao Ling’s Chinese and arts even scored the A1 level. It was 2001. This certificate was the beginning of them gaining learning certificates. Sometimes I wondered, if they had remained in Taiwan, they would not have to go through so many struggles to obtain their certificates. However, I believe this long road allowed them to experience perspectives ordinary people their age do not.


話說葆靈選讀拉薩爾藝術學院,從此有了自己開創的天地。他的履歷長長一串令我咋舌,真是用功!他大大小小的個展、聯展,我看似都不在場,其實心裡都牽掛著,總在佛前焚香禱祝。


Bao Ling chose to study in the LASALLE College of the Arts, and he started creating his own world. His resume was long and surprised me. He was diligent. Although it seems that I did not attend his various solo exhibitions and joined exhibitions, they were always on my mind, and I always burn incense and pray to Buddha for him.


孩子大了,該放手時就放手,讓他們去走自己的路。早在初來乍到新加坡,我在當地聯合早報投稿的文章〈放他單飛〉一文就已表露我心裡的想法:


When children grow up, there comes a time to let go, allowing them to go their own way. When we first arrived at Singapore, I submitted an article to the Lianhe Zaobao entitled “Let Him Fly Solo,” in which my thoughts were revealed:

我告訴友人,我放他單飛,一點一點放,每回讓他離開父母的視線,充其量也不過幾個鐘頭的時間。再過幾年,等他羽翼豐滿,那時,千山萬水、海角天涯,只要他心之所向的地方,都任他去獨行了!歲月豈容父母當孩子一輩子的守護神呢?

I told my friends that I would let my son fly solo, bit by bit. Each time he left his parents’ sight, it would be just for a couple of hours. In a couple of years, when his wings are fully grown, wherever he wishes to go, no matter how far, I will let him fly solo. Time does not allow parents to be guardian angels of their children for their children’s lifetime.

文章當時說的是我的大孩子,葆靈的哥哥,但一樣用在後來葆靈的身上。可不是嗎?原本成雙的守護神,如今落單了。而當我繼續老去,又還當得了誰的守護神呢?


That article referred to my eldest child, Bao Ling’s older brother. But it was applicable to Bao Ling, wasn’t it? Once a pair of guardian angels, there is now only one left. And as I continue to age, how long could I remain their guardian angel?

多年後,我對外提起讓孩子自學的這段往事。記得那位本地朋友聽了,靜默了一會兒,說:「你很勇敢。」我說勇敢的不是我,我只是執行者。的確,如果先夫沒有做出這樣的決策,我是斷然不會去挑戰體制的,根本連這樣的念頭都不曾有過。幸好觀諸二子,他們沒有對這段成長經歷發過怨言,葆靈甚至認為這樣的經歷豐富了他。是的,他在留宿中國一間廟宇時,曾目睹了廟裡進行的佛像雕塑,還實際拿土操作稍微學了些。這有助於他的藝術創作吧?


Years later, I mentioned that I home-schooled my children. A local friend heard it, was silent for a while, and then said, “You were brave.” I said it was not I who was brave. I was only the implementer. Indeed, if my late husband had not made the decision, I certainly would not have challenged the system. I would not even have had such thoughts. As luck would have it, both my sons never complained about their experiences growing up. Bao Ling even thought that this experience enriched him. Indeed, when he stayed in a temple in China, he observed sculpted Buddhist statues and later tried his hand at sculpting replicas from clay. Perhaps the experience helped his artistic creations.


近日,葆靈在家庭群組裡問我,「話說我9月3日要開個展了,這次要印畫冊,老媽有沒有興趣幫我寫一篇文章收錄在畫冊?字數不拘,但時間比較趕,大約7月底截稿。」


Lately, Bao Ling asked me in the family message group, “Say, I’m going to hold a solo exhibition on September 3. This time, I’m going to print an art album. Mom, would you be interested in writing an essay to be included? The only thing is that you must hurry and finish it by late July.”


當然,能為兒子跨刀是為母的榮幸與驕傲。於是,我鑽入時光隧道去開挖記憶,挖出沉埋的各種心情故事,羅列二三於本文。但願葆靈記得,縱然全世界關心的是你飛得高不高,老媽只著眼於你飛得累不累,即使你天上的父親亦必然如是想。


Of course. It would be an honor to write for my son. Thus, I turned back time and turned back the clock, I dug up all the thoughts and stories that had been buried in my memories and jotted them down in this essay. I hope Bao Ling remembers that although the world wants to see him soar and fly high, as his mother, what I care about most is whether he is tired of flying. I’m sure his father in Heaven will agree.


身為葆靈母親,卻是繪畫的門外漢,無能評價他的畫藝如何、技巧如何,只能絮叨一些他的日常,差堪自慰的是,自他兒時起,便任由他的畫筆自由飛翔。於此,借用他此次的展名〈自由的光芒〉為題,寫此小文,並深深感謝一路來照顧、指導與提攜他的師長、畫壇前輩們;並由衷感謝畫廊給予他展出夢想的機會與空間。最後祝願以畫畫為一生志業的葆靈畫途順遂、畫展成功,事事圓滿。老媽永在你背後支持你。


Despite being Bao Ling’s mother, I will confess that I cannot draw or paint to save my life. Nor can I comment on his painting skills. I can only talk about his daily life. I can only take pride that I allowed him the space to spread his wings and explore his artistic nature in his youth. This time, I borrowed his exhibition title “The Light of Freedom'' to write this essay. I would like to express my deepest gratitude to the teachers and seniors in the art scene who have cared for, mentored, and led Bao Ling. I would also like to thank the gallery for offering him the opportunity and space to exhibit his works. Finally, I wish Bao Ling, whose life is dedicated to his art, a smooth career, a successful exhibition, and that he may feel fulfilled in everything. As your mother, I shall always stand behind and support you.




《中國嘉德香港2022秋季十週年慶典拍賣會 - 亞洲二十世紀及當代藝術》頁009- 012

《中國嘉德香港2022秋季十週年慶典拍賣會 - 亞洲二十世紀及當代藝術》,頁009- 010
“CHINA GUARDIAN HONG KONG 10th ANNIVERSARY AUTUMN AUCTIONS 2022 - ASIAN 20th CENTURY AND CONTEMPORARY ART" pg. 009- 010

林葆靈 (b.1981)
慾望IV(A)、沒有名字的小傢伙(B)(一組兩件)(二〇二一(A)及二〇一八年(B)作)
壓克力彩 畫布(A);聚氨酯 彩繪 雕塑(B) 版數:4/20(B)

A: 100 × 80 cm. 39 3/8 × 31 1/2 in. B: 30 × 21 × 13 cm. 11 3/4 × 8 1/4 × 5 1/8 in.

款識
A: Lin Bao Ling 2021(右下)
B: 4/20 Lin Bao Ling 2018(底座)
來源
亞洲私人收藏

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「小傢夥」的奇幻旅程
林葆靈的山間奇遇

「描繪夜是為了擁抱夜,也為了更懂得珍惜光。」

這是林葆靈在個人Facebook上為自己所下的註解。這位1981年出生的台灣青年藝術家,擅長以朦朧紫色調描繪夜景,雖以油畫為媒材,但獨樹一格的揉合水墨表現技法,將夜景化為轉瞬即逝的光影流動,令人耳目一新。2006年自新加坡拉薩爾藝術學院畢業,後入讀國立台灣師範大學美術系研習水墨的他,在多重媒材間自由遊走。2010年他獲邀參加美國佛蒙特藝術駐村計劃,在結束後於紐約第一銀行舉行個展。自2006年起,林葆靈展開「沒有名字的小傢夥」系列之作。藉由一身軀瘦小卻背著大行囊的「小傢夥」為主角,在畫中展開旅程,並在其「夜景」主題中不斷轉換,演繹一齣齣生命奇遇。2021年春,其作在嘉德香港首次上拍,兩件作品均以逾低估價5倍成交,備受藏家追捧。是次,我們帶來《慾望IV、沒有名字的小傢夥》(拍品編號5)及《出走》(拍品編號6)以餮藏家。

生命慰藉,治癒之旅

《慾望IV、沒有名字的小傢夥》分別由一畫作和雕塑組成。在雕塑《沒有名字的小傢夥》中,主角正專心致志地舉著畫筆畫畫。他雖頭戴時尚的毛線帽,卻手持傳統的中國毛筆,猶如林葆靈本人的寫照――決心將傳統中國畫元素融入西畫的形式中。又如在畫作《慾望IV》中,藝術家一反過去聚焦「大風景小人物」的傳統中國山水畫構圖,將鏡頭「拉近」,將視覺中心聚焦於主角的面部表情之上。畫面中,「小傢夥」於暗夜中獨坐於篝火旁,鬆軟的毛線帽套在頭上抵禦嚴寒,而額頭與身上則纏繞白繃帶,遮住肉身的纍纍傷痕。他手拿木棍靠近篝火,上面插著兩朵蘑菇,像是在炭烤著晚餐。若再仔細觀之,「小傢夥」早已嘴角微張,面對眼前的食物直流口水……巧妙地描繪出對溫暖食物的嚮往,點題「欲望」,撫慰空虛的味蕾與靈魂。在其身後,一隻孤單的小松鼠亦看著眼前的食物,露出欽羨之情,忍不住向前靠近,欲一嘗其味。而旺盛的火焰直聳入天空,在寂靜無垠的星河襯托下,燃燒出旺盛的生命力,更在寒冷的夜晚為人帶來一絲溫暖的慰藉。「小傢夥」就這樣與食物和篝火相依偎,成為其在茫茫山谷間休憩、舔舐傷口,再重新出發的中轉站,令此成為一場治癒之旅。

林葆靈 /《慾望 IV》/ 壓克力與亮粉於畫布/ 100 x 80 公分/ 2021
LIN Bao Ling / Desire IV/ 100 x 80 cm / Acrylic and glitter on canvas / 2021



穿梭古今,奇幻歷程

而《出走》則以林葆靈標誌性的豎直式構圖,在暗夜中展現出高聳的山崖,由下至上的仰視視角更凸顯出此景之陡峭。茫茫蒼穹下,只見「小傢夥」孤身一人以身歷險,正拉著細長的繩索欲穿越山谷。長繩的一頭拴在木樁上,另外一頭則延伸至畫外,使有限的畫布空間擴張至無限。而主角的頭上戴著照明的夜燈,他一隻手抓著身邊的樹幹,試探性的伸出一隻腳,內心堅定地前行。其瘦小的身軀與偌大的山谷形成鮮明對比,而遠方城市的萬家燈火被重山所隔絕,唯有高懸的明月與之為伴。此情此景,雖令人備感環境之艱險,卻又在黑暗中看到他面對逆境,奮力求生的希望與力量。畫面中的山巒與月夜展現傳統中國畫式的優雅與靈動,而主角卻呈現出極富當代性的「卡漫」造型,展現藝術家別出心裁的巧思,一場穿梭古今的奇幻歷程,正要展開。

林葆靈 /《出走》/ 壓克力與亮粉於畫布/ 146 x 82 公分/ 2021
LIN Bao Ling / Night Climb / 146 x 82 cm / Acrylic and glitter on canvas / 2021



估價 :
HKD: 48,000 - 68,000
USD: 6,100 - 8,700

成交價:
HKD: 192,000

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Lin Bao Ling (b.1981)
Desire IV (A); The Nameless Little Guy (B) (Set of two pieces)(Painted in 2021 (A); executed in 2018 (B))
Acrylic on canvas(A); polyurethanes paint sculpture (B) Edition: 4/20 (B)

A: 100 × 80 cm. 39 3/8 × 31 1/2 in. B: 30 × 21 × 13 cm. 11 3/4 × 8 1/4 × 5 1/8 in.

A: Signed in English and dated on bottom right
B: Numbered, signed in English and dated on the reverse of the base
PROVENANCE
Private Collection, Asia


Price estimate:
HKD: 48,000 - 68,000
USD: 6,100 - 8,700



《中國嘉德香港2022秋季十週年慶典拍賣會 - 亞洲二十世紀及當代藝術》,頁011- 012
“CHINA GUARDIAN HONG KONG 10th ANNIVERSARY AUTUMN AUCTIONS 2022 - ASIAN 20th CENTURY AND CONTEMPORARY ART" pg. 011- 012

林葆靈 (b.1981)
出走(二〇二一年作)
壓克力彩 畫布
146 × 82 cm. 57 1/2 × 32 1/4 in.
款識
Lin Bao Ling 2021(右下)
來源
亞洲私人收藏

Lin Bao Ling (b.1981)
Night Out(Painted in 2021)
Acrylic on canvas

146 × 82 cm. 57 1/2 × 32 1/4 in.


Signed in English and dated on bottom right
PROVENANCE
Private Collection, Asia

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The Fantastical Journey of “The Little Guy”
Lin Bao Ling's Adventure in the Mountains


Lin Bao Ling, born in 1981, is particularly fond of the theme of nightscapes. Using solid painting techniques, he reveals the dramatic light and shadow changes in the dark night, the sometimes focused and sometimes hazy visual sensations, and the quiet exploration of travel from his imagination that refreshingly unfolds onto the canvas. After graduating with honours from the LaSalle College of the Arts in Singapore in 2006, he enrolled in the Department of Fine Arts of the National Taiwan Normal University to study ink wash painting, moving freely between multiple media. In 2010, he was invited to the Vermont Art Village in the United States for a residency, and then held a solo exhibition at the First Bank of New York, where his works were included in the Bank's collection. Since 2006, he has been working on the The Nameless Little Guy series. The Little Guy has a small body but carries a large backpack, and is often portrayed in the paintings as embarking on a journey. First auctioned at China Guardian Hong Kong in 2021, both works sold for five times their estimate, and were highly sought after by collectors. This time, we present Desire IV, The Nameless Little Guy (Lot 5) and Night Out (Lot 6), works that incorporate his classic vocabulary.


The Healing Journey of a Life of Comfort


Desire IV, The Nameless Little Guy is a set of two pieces consisting of one sculpture and one painting. On the sculpture The Nameless Little Guy, the artist depicts a young little guy who is painting with traditional Chinese brushstroke, thus becoming a self-depiction of the artist himself. He is wearing a contemporary beanie hat to reveal his young age, which is a contrast to the brush pen he is holding, demonstrating to the dedication of the artist to combine contemporary and traditional style in his artwork. In painting Desire IV, the artist deviates from traditional Chinse landscape painting composition that focuses on “big landscapes and small figures”, and enlarges the visual centre to focus on the protagonist's facial expressions. In the painting, the Little Guy is sitting alone by the campfire in the darkness of the night; his woollen hat is placed warmly on his head to protect him from the cold, and white bandages are wrapped around his forehead and body to cover his heavily scarred body. He sits near the bonfire with a wooden stick in his hand, and barbecuing two mushrooms on the stick. The Little Guy's mouth is slightly open, drooling, as he stares at the food in front of him… The artist ingeniously uses the audiences' desire for warm food as the theme of “desire”, and uses food to soothe empty taste buds and souls, bringing a touch of warm comfort to people in the cold night, making this a journey of healing.


A Fantastical Journey Through the Past and the Present


Night Out uses Lin Bao Ling's iconic vertical composition; the bottom-up perspective accentuates the steepness of the scene, highlighting the towering cliff in the dark night. Under the vast sky, only the Little Guy is visible, alone on an adventure and walking on a long and thin rope to cross the valley. One end of the long rope is tied to a stake, while the other end extends beyond the painting, suggesting an unknown path ahead. The protagonist wears an illuminated night light on his head. He grabs the tree trunk beside him with one hand, hesitantly stretches out one foot, and moves forward with grit. His thin and small body is in stark contrast to the large valley, and the lights of thousands of homes in the distant city are isolated by the heavy mountains, only accompanied by the hanging bright moon. This scene shows the dangerous of the environment, but also convey the Little Guy's bravery when he is facing the darkness. The composition of mountains and moonlit night in the painting reveals the elegance and flexibility of traditional Chinese painting, while the Little Guy represents a very contemporary cartoon shape, demonstrating a marvellous interpretation of the interweaving of the past and the present.


Price estimate:
HKD: 48,000 - 68,000
USD: 6,100 - 8,700

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https://www.cguardian.com.hk/tc/auction/auction-details.php?id=321977

《中國嘉德香港2022秋季十週年慶典拍賣會 - 亞洲二十世紀及當代藝術》
China Guardian Hong Kong 10th Anniversary Autumn Auctions 2022
ASIAN 20 th Century AND Contemporary ART


 


動靜與虛實之間 / Shifting Between Virtual and Real



文/郭懿萱


郭懿萱,國立臺灣大學藝術史研究所碩士,日本九州大學美術史博士課程。現在任職於國立臺灣美術館研究發展組。曾為臺南市美術館「凝視的刻線-2021陳正雄個展」、「手心的對話-潘元石雕版印刷教學特展」的策展人,也曾參與策劃臺北市立美術館「臺灣製造.製造臺灣」以及北師美術館「不朽的青春」。

About the author

Kuo Yi-Hsuan, Master’s degree from the Graduate Institute of Art History, National Taiwan University. PhD program in Art History at Kyushu University, Japan. Currently employed at the Research and Development Department, National Taiwan Museum of Fine Arts. Curated The Carving of Gaze-Cheng-Hsiung Chen Solo Exhibition 2021 and Dialogues in Palms—The Exhibition of Woodcut Prints by Pan, Yuan-shih for Tainan Art Museum. Participated in the planning of Formosa in Formation at Taipei Fine Arts Museum and The Everlasting Bloom at the Museum of National Taipei University of Education.

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林葆靈的夜景創作以水墨技法與抽象構圖為其特色,並透過光影的交互搭配,尋找畫家記憶中所承載的生活面貌,並探究光影變化造成的視覺感受與美學哲思。如在2008年的夜曲系列作品中,畫家以十分微弱的人造光芒襯托夜景的輪廓,使街景曖昧不清。有時還會以水中倒影或是雨中景觀,來加強夜晚視覺的隱蔽性。夜的隱蔽性,反映著畫家一直以來所思考的世事真假的二元辯證,但另一方面,也讓想像充滿了無限的可能。

Bao-Ling Lin’s night paintings are characterized by ink painting techniques and abstract compositions. The artist not only recreates memories through variations in light and shadow, but also explores the visual perceptions and aesthetic philosophies they create. Taking the Nocturne series (2008) as an example, the artist outlined nightscapes using murky lights to create enigmatic street views. Sometimes Lin also uses water reflections and scenes of rain to enhance the nightscape’s visual covertness. Such covertness reflects the artist’s contemplations over binary dialectical reality, while filling imaginations with infinite possibilities.

2010年代開始,林葆靈的作品雖然仍以夜晚為主,然開始以單一色調繪製夜晚的城市。最為顯著的轉變是加強對白色的使用,來描繪出燈火通明的都市。畫家除了以渲染、潑彩的方式表現外,並將城市景觀的邊界刻意地扭曲而模糊。使得作品呈現出如夢似幻的樣貌,如同腦海中浮現的景致一般,既真實又虛渺,再次地展現另一種層次的虛實對立。這些水墨渲染的方式,在畫面中營造一種速度性。其實在早期人物肖像的作品中,就可以發現畫家使用筆觸來展現速度感的興趣。從2004年左右創作的人物肖像中,除了可以見到畫家扎實的速寫功底之外,在部分作品的表現上雖保有人物清晰的輪廓,但也可以見到畫家刻意模糊背景,或以線條展現速度感的作法。而這樣的模糊邊界的作法與筆觸的處理,便在林葆靈的夜景代表系列中延續了下來。

With nightscapes as a recurring theme, Lin began to paint cities using monochromatic colors in the 2010s. His transformation is most apparent in the portrayal of brightly lit cities through various shades of white. In addition to rendering and splashing, the artist intentionally distorted and obscured the outlines of city landscapes to create a dreamlike mental image that truthfully yet fancifully reflects the opposition between virtual and real on a different level. These ink-rendering techniques build a sense of momentum foreshadowed in Lin’s character portraits from as early as 2004 that demonstrated the artist’s solid sketching skills and use of seamless outlines to paint vivid characters on blur backgrounds. This hazy style of brushstrokes has been preserved in Lin’s signature night painting series.

在這些描繪夜景作品之中,「人物」的樣貌通常不是故事所描繪的重點,僅僅是繁華夜景的陪襯。同時這些人物通常展現的為剪影,並且背離著觀者,彷彿暗示著大城市中人與人之間的距離感。另一方面,當畫家將作品焦點集中在部分城市景觀時,有時會完全抽離這些「人物」的配置。如同2013-2015年以旋轉木馬為主題的系列創作,雖然還是可以見到遊樂園景觀中,人物圍繞在旋轉木馬周圍的場景,但是當以木馬們作為畫面主角時,並無人物騎乘於上,而是以各式角度描繪木馬們的樣貌。在光影的配置之下,這些木馬宛若自己轉動了起來,反而強化了繁華之中寂寥的氛圍。在這些夜景的作品裡,雖然渲染的筆觸與邊界的淡化處理,可以令人感受到畫家想傳遞出街景風貌的瞬息萬變。但是光影構圖與視覺焦點的安排,也同時彰顯出畫中世界的恆靜不變之感。林葆靈作品就在這「動」勢的筆觸與「靜」止的時間性中交互而生。

Oftentimes, the appearances of “characters” are not the key emphasis in these night paintings as they merely serve to provide contrasting backgrounds for night-time glamor. Meanwhile, these characters mostly appear as silhouettes turning away from viewers, which may be hinting at the modern sense of interpersonal distance among urbanites. Sometimes the artist completely removes “characters” from the layout when he intends to direct viewers’ attention to specific parts of the city landscape. For example, Lin’s Merry-Go-Round series (2013-2015) features various scenes of characters playing the merry-go-round in an amusement park. However, no riders are present in paintings that focus on the model horses. Through Lin’s depiction through different angles, these model horses seem to start revolving under light and shadow combinations with an enhanced atmosphere of solitude in the hustling playground. While the rendering brushstrokes and fading borders convey the artist’s interpretation of dynamic street views, the light-shadow composition and visual focus arrangement also demonstrate a sense of consistency in the paintings. This interaction between “dynamic” brushstrokes and “static” temporality is what gives birth to Lin’s artworks.

直述自由的心靈

「沒有名字的小傢伙」從2006年起成為畫家創作的主題之一,並且也開始於2010年代融入夜景的創作系列之中,成為夜景中唯一的「人物」,而非僅是背景的剪影。2015年,畫家或是使用速寫的小品描繪、或是以複合媒材創作出這號人物,抒發日常生活經驗與思緒,配合文字,成為畫家的代言人。在初期與夜景結合的作品中,延續著寒色系的色調,小傢伙的面部表情與姿態,多半呈現悲傷的情緒。同時他所出現的場景並非熱鬧的都市叢林,反而是遠離塵囂的高山上、樹林中、溪谷旁,甚至是俯瞰地景的雲朵上,彷彿遠離著世事的一切,在華美的夜景中透露出一份孤寂感。在畫面當中,也可以看到畫家擅長的渲染筆法彩繪背景,但是在小傢伙的表現上,皆以清晰的輪廓線勾勒而成,虛實交錯,以突顯小傢伙的存在。近期(2020-2022年)的創作中,畫家在色彩的處理上開始出現暖色調的配置,甚至有陪伴者的出現,使頗具童趣的小傢伙形象,在虛幻的夜色中增添一股活潑感。

A Declarative and Free Mind

In 2006, the artist introduced The Nameless Little Guy as a new creative theme to his works, which was later incorporated into the night painting series in the 2010s as the only “character” rather than background silhouettes. Created by quick sketching and mixed media in 2015, The Nameless Little Guy became an avatar paired with text to express the artist’s daily life experiences and ideas. In its early integration with cold-colored night paintings, the little guy’s facial expressions and postures display sadness in contexts far away from the hustle and bustle of the concrete jungle–in mountains, forests, river valleys, and even on clouds overlooking the ground. This distance from the world presents a sense of solitude in sharp contrast to the intriguing nightscape. The image also features the artist’s rendering brushstrokes and colorful backgrounds, whereas the little guy is drawn by distinct contour lines to accentuate its presence. In recent creations (2020-2022), the artist began to apply warm color tones and even added companions to the paintings, instilling the wondrous little guy with lively energy in the mystical night.

在林葆靈的創作自述中,強調著順於不自由的框架中,突破與追尋真正的自由。畫家以「沒有名字的小傢伙」作為自身面臨創作時的情感投入對象,透過場景的轉換,或至世界各處探險、或於內心深處靜默,試圖以創作的想像世界,發現自由的光芒,而「沒有名字」亦可以說一種不被框架限制的展現。同時,我們也不難發現,小傢伙出現的場景多在夜晚之中。曾有評論家提出:「林葆靈的繪畫表現,並不是透過形狀或結構來進行辨認都市景觀的一種過程,而比較傾向創作者如何在這些光影瞬息變化與穿越時空的都會景色中,獲得一種心靈聯繫的經驗。」這樣的心靈聯繫不僅是對於畫家,對於觀者而言,亦可以感受到如同前述所提及,就是這夜的隱蔽性讓想像承載著擁有無限的可能,讓小傢伙的「夜遊」,是如此的理所當然。

Lin emphasized a breakthrough and pursuit of true freedom under limited frameworks in his artist statement. By projecting the emotions as a creator to The Nameless Little Guy in different contexts, the artist discovers a glimmer of freedom through creative imaginations–from adventures around the world to inner silence. Being “nameless” can also be interpreted as a breakthrough from framework limitations. Regarding the little guy’s noticeable appearance at night, a critic once commented, “Lin’s paintings are not so much about identifying city landscapes through shapes or structures, but rather about creating spiritual connections through these light-shadow variations and enduring metropolitan landscapes.” These spiritual connections are felt between the artist and viewers. As previously mentioned, this covertness of the night fills imaginations with infinite possibilities, making the little guy’s “night tour” extremely natural in every way.

在經歷過對於「光影」技法的探究後,林葆靈更直接地訴諸個人的想法於作品之中。觀者不僅可以在他的作品中,浮現對於城市地景的記憶,亦可以隨著小傢伙的遨遊,喚起內心的童真,將自我一同帶入其中,感受屬於個人的靜謐與尋找自由的力量。

Having explored light and shadow techniques, Lin has become more direct about expressing personal ideas in his works. Lin’s paintings not only bring back viewers’ city landscape memories, but also awaken their childlike innocence to take them on a journey on which they experience a personal tranquility and find the power of freedom.

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【 自由的光芒 – 林葆靈個展】
The Light of Freedom – A Solo Exhibition by LIN Bao Ling

▎展  期 Date丨2022/09/03 (Sat.) - 2022/10/29 (Sat.)
▎開放時間 Opening Hours丨週二至週六 10:00-19:00
▎地  點 Location丨索卡藝術.台北丨台北市中山區堤頂大道二段350號丨Soka Art Taipei丨No.350, Sec.2, Tiding Blvd., Zhongshan Dist., Taipei City
▎聯  繫 Contact丨02-2533-9658

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【 |#自由的光芒|台北個展|#非池中 獨家專訪影片】

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2022/10/1 #畫冊發表座談 |Catalogue Release and Artist Talk
與談人:張瑋特 (金車文藝中心總監)
藝術家:林葆靈
直播存檔:













2022年10月8日

追光者,即是光 / The Light-Chaser is the Light

文/林家萱



林家萱,國立台灣大學歷史學系畢業,英國倫敦大學柏貝克學院藝術史研究所畢業,主修西方現代藝術史,期望透過文字讓更多靈魂與美相遇。

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一直以來,我們所認識的林葆靈多以捕捉生命中真實的景象為創作主題,從城市繁華的夜景到冷冽壯麗的雪景,每一幅都讓人身歷其境、為之驚嘆。然而,2022年他所帶來是令人驚艷與興奮的作品。大面積平塗的豔紅、跳脫夜晚的場景、挪用名畫與漫畫的構圖、充滿戲劇張力的「沒有名字的小傢伙」與超越平面的三度空間作品。這些元素與以往大家所熟悉的藍紫色調、如夢似幻的虛實場景,以及惹人憐愛的小傢伙非常不同,或許這次畫風的轉變會讓人感到震驚,但細細探察他以往的創作,逐步梳理,就會發現一切有跡可循。這些轉變都是他在藝術創作上突破自我的證明,而他也仍在追尋那自由之光的藝術道路上不斷前行著,並持續發著光。



Until now, the Lin Baoling we know has captured the themes for his creations in real-life scenes. From bustling city nightscapes to chilly, majestic snowscapes, each one has been both immersive and surprising. Now in 2022, the works he has produced are both breathtaking and exciting. Ostentatious red smeared across a large area, scenes that transcend the night, compositions that appropriate famous paintings and manga, little guys brimming with dramatic tension, and works in three-dimensional space that transcend planes; all elements distinct from the blue-purple tones, dreamlike scenes of pseudo-reality, and the loveable “The Nameless Little Guy” that everyone has come to expect. Perhaps this stylistic shift will be a shock to some, but close examination of past creations sorted through step by step, reveals traces that can be followed throughout. These shifts in artistic production all prove that Lin has outdone himself, and continues to shine forward on an artist’s path in pursuit of the light of freedom.


藍紫色的溫柔鄉


林葆靈擅於描繪神祕浪漫的夜景,多以藍與紫為主色調創作。《雪國XVI》是以少有的廣角視野俯瞰整個日本新瀉縣小村落,前景的小雪人和觀者一同眺望遠方重重疊疊、山巒疊障的藍紫色山林,頗有山水畫的平遠氣質。雖然披著皚皚雪白的村落被山林包圍,卻不寒冷,因為如螢火般的萬家燈火照亮了夜,溫暖了心,帶來了希望。林葆靈最具標誌性的藍紫色濾鏡,看似是一種憂鬱、冷靜的畫面,但所欲傳遞的卻是溫暖與正向的感受。


The Tender Land of Blue and Purple


Lin Baoling is an expert in the depiction of mysterious, romantic nightscapes, making frequent use of blues and purples as the principal tones in his creations. Snow Country XVI is a rare panoramic view of an entire village in Japan’s Niigata Prefecture. Together with a small snowman in the foreground, the viewer looks out over layer upon layer of distant blue-and-purple mountains and forests, painted in a flat, far-off manner very much like a landscape painting. Though surrounded by mountains and forests, the snow-draped village is not cold due to its blaze of lights illuminating the night like fireflies, warming hearts and bringing hope. Lin Baoling’s most iconic blue-purple filter may seem a bleak and sullen scene, but seek to convey feelings of warmth and positivity.



同樣以藍紫色夜空為背景的《似夢非夢》,林葆靈使用如夏卡爾般的超現實構圖,描繪了三個難分真假的「沒有名字的小傢伙」。他是林葆靈2006年自創的角色,如孩童般、赤裸、身上包著繃帶、沒有手指、沒有瞳孔並帶有深沉的黑眼圈。雖然懷著初心、真誠待人,卻常在危險世界裡受傷,時常握不住自己想要的東西,也時常看不清未來與真實,並常受焦慮與失眠之苦。這是藝術家的自我投射,但也可代表每個人。對林葆靈來說,畫畫卻是治癒這些的唯一救贖。就像每個人,只要在生命中找到一種使命,即使過程磕磕碰碰,但仍會堅持下去,並感到幸福。畫面中半透明且巨大的小傢伙酣然入夢,彷彿與大地融為一體;而兩個輪廓較具體的小小傢伙,一個呈臥躺之姿閉目而息,另一個則是化身為蝶於空中辛苦飛行。這三者間無論何為真實,何夢境,整體畫面都呈現出小傢伙幕天席地時的安適自在。



With an equivalent background of blue-purple night sky, Lin Baoling employs a surreal, Chagall-esque composition to portray three “Nameless Little Guys” in A Dream not a Dream. A character created by Lin Baoling in 2006, childlike, naked, body wrapped in bandages, fingerless, pupiless, with dark circles under his eyes. Though possessed of openness and sincerity toward others, he is constantly wounded by the world around him, frequently unable to grasp the things he wants, unable to see the future or reality clearly, and burdened by constant anxiety and sleepless nights. This is the artist’s self-projection, but could also represent everyone. According to Lin, painting is the sole salvation to curing these ills. Just like every person need only find some kind of calling in life; though the process is bumpy, they can still persevere and enjoy happiness. The enormous, translucent little guy is dreaming soundly as if fused into one with the earth. Of the two little guys with comparatively definite outlines, one lies prone with his eyes shut while the other morphs into a butterfly and flutters exhaustedly through the air. Amid these three, regardless of what is real and what is a dream, the whole of the scene presents the little guys in a moment of quiet, unrestrained spontaneity.


從挪用啟航


2022年林葆靈開始大量地使用挪用技法,將人們所熟知的繪畫、文學、漫畫作品融入創作中,並化身為「沒有名字的小傢伙」,帶領觀者走出熟悉的藍紫色溫柔鄉,與他一同經歷藝術家追尋自由之光的漫長旅程。他從最古老的洞穴壁畫開始溯源,《創意思考》中的小傢伙躲在紙箱所做的洞穴中思考;《騎在老野牛背上》挪用了法國南部肖維岩洞壁畫中的野牛當作小傢伙的座騎,從野牛伸直的前肢和飄揚的圍巾,看出他正在快速向前奔馳。藝術創作的濫觴本應充滿能量與動力,方能拓展出將來無限的可能。藝術史如此,林葆靈的創作生涯亦是如此。


Setting Sail from Appropriation


In 2022 Lin Baoling started using a great number of appropriation techniques, taking paintings, literature, and cartoons people are used to seeing and integrating them into his creations, changing them into “The Nameless Little Guys” and leading viewers out of the familiar tender lands of blue and purple together with him on the artist’s endless journey in pursuit of the light of freedom. Beginning by investigating the oldest cave wall paintings, the little guy in Creative Thinking hides thoughtfully in a cave made out of a cardboard box. Riding on the Old Bison's Back appropriates a bison from the cave paintings of Grotte Chauvet in the south of France to serve as a mount for the little guy. From the bison’s outstretched forelegs and fluttering scarf, we can make out that he is speeding forward at a gallop. The origins of artistic production ought to be flush with energy and motivation, so it can then expand into limitless future possibilities; such is the history of art, and such is the creative career of Lin Baoling.


一路奔馳到19世紀的法國,《自己領導自己》的構圖來自浪漫主義畫家歐仁.德拉克洛瓦的《自由領導人民》。林葆靈將揮舞著三色旗、象徵自由的女人置換成小傢伙,他右手舉起仿漫畫《海賊王》的旗幟,骷髏與草帽替換成畫筆和畫家帽;左手執著畫筆,表情堅定展現英勇憤慨的革命情懷,好似在和身後於顏料堆裡踽踽獨行、步履蹣跚的小傢伙大聲呼喊口號。鮮紅染過的天空下,一個個聳立的畫布有如禁錮藝術家思想的牢籠,長久以來限制他的想像,而要如何衝破這個困境,就需憑藉一股奮不顧身、勇往直前的精神,進行一場創作思想的革命。



Speeding all the way to 19th-century France, the composition of One Leading Oneself comes from the romanticist painter Eugène Delacroix’s Liberty Leading the People. Lin Baoling replaces a tri-color-flag-waving Lady Liberty with a little guy, an imitation One Piece flag in his right hand, skull and straw hat replaced with paintbrushes and a painter’s cap; in his left hand he grips a paintbrush, his expression a resolute display of revolutionary heroism and resolve. It looks as if he is shouting slogans with the little guy staggering alone through the paint tubes behind him. Under a sky stained bright red, canvases stand aloft one after the other like cages that confine the artist’s thoughts, having limited his imagination for a long time. But in order to break free from this predicament, he must rely on his brave and reckless spirit to carry out a revolution in creative thinking.


與此同時,來自日本的庶民美學浮世繪,正漸漸在西方掀起藝術革新的巨浪,影響了馬奈、莫內與梵谷等人。《前浪》再現了葛飾北齋的《神奈川沖浪裏》。林葆靈用最擅長的藍紫色渲染整片天空,再透過精湛的寫實功力,以仰視的視角使滔天的巨浪更具量感與張力。此巨浪正是由藝術史所累積的強大能量,乘著筆筏的小傢伙在漂浮著顏料管的藝術之海中破浪而行,海浪不斷將他推送到浪頂,彷彿就快要觸及懸在天上斗大的明月。至於何時抵達頂峰,林葆靈只將答案留給了自己。


During the same time period, the Ukiyo-e folk aesthetic from Japan was gradually setting off huge waves in the West, influencing Manet, Monet, and Van Gogh. The Great Wave recreates Hokusai’s The Great Wave off Kanagawa. Lin Baoling renders the entire sky using the blue-purple hues he is best at, and with consummate realistic abilities makes the great torrential wave seem more significant and tense from an upward-facing angle. This humongous wave is precisely due to the accumulated powerful energy of art history. The little guy riding on the pen raft braves the wave as he moves amid an art-sea of floating paint tubes, the wave continuously pushing him toward its crest as if it is about to touch and hang atop the huge celestial moon. As to when he will arrive at the peak, Lin Baoling has only kept the answer to himself.



乘著藝術之海的浪,小傢伙原以為能衝破束縛,航向更自由的航道,但怎知在《十萬八千里》中,一隻從海中冒出的巨大金色手掌,擋在他的筆筏前。此時的月亮被厚重的紫色烏雲遮住大半,好似藝術家面對創作撞牆期最真實的心境寫照。即使如此,小傢伙仍不曾停止向前航行。船帆標誌暗示著小傢伙會像《海賊王》主角一樣,為尋找「ONE PIECE(一個大秘寶)」,繼續在一片茫然未知的海上載浮載沉、乘風破浪,不顧一切追尋藝術的理想。



Riding the waves of a sea of art, the little guy originally thought he would be able to break his fetters, sailing toward a freer channel, but how could he have known that in Sisyphus on the Sea, the palm of an immense golden hand would rise out of the sea, blocking the front of the pen raft. The moonlight in this moment is half-obscured by thick purple clouds; the most realistic portrayal of the artist’s mood when he faces a creative wall. Even so, the little guy never stops sailing forward. The emblem on the sail hints that the little guy, like the main character in One Piece, is searching for “One Piece (The Great Treasure)”, continually rising and falling in a trackless sea, riding wind and braving waves in reckless pursuit of artistic ideals.



藝術發展至今,早已不再受限於主題、形式或媒材,曾經不被學術接納的大眾文化,也可進入藝術的殿堂。除了先前提到的《海賊王》,林葆靈也受到漫畫《進擊的巨人》啟發。小傢伙在《擊破》中進化為抓狂的巨人,面部猙獰、齜牙咧嘴,嘴角與身上冒出白煙,殺紅了眼的他將眼前的紅色畫布擊破。小傢伙將藝術家獨自創作的孤獨與黑暗釋放,發狂似的突破繪畫平面性的禁錮,抓住那些一閃而現的靈光,奮力一擊,找到通往自由的下一個維度。



Artistic development has not been limited by subject, form, or medium for a long time. Once denied admittance by academia, popular culture can now enter the art world’s hallowed halls. Besides the aforementioned One Piece, Lin Baoling has also been motivated by the Attack on Titan manga. In Punch, the little guy evolves into a crazed titan, fierce-faced, fangs bared, smoke issuing from the corners of his mouth as well as off of his body, tearing apart the red canvas before him with murderous red eyes. The little guy releases the loneliness and darkness of the artist’s sole creation, madly as if breaking through the confines of the painting’s surface, grasping the flashes of halo, putting all his might into one attack in search of the next dimension leading to freedom.


通往下個維度


從二維平面轉向三維空間,林葆靈並非首次嘗試,2017年就開始將小傢伙立體化,2018年甚至將《沒有名字的小傢伙》的雕塑製作出來,這也預示了他的創作即將往此方向發展。雖然這幾年他仍以平面創作為主,但2022年開始產生比較大的轉向。



Lead to the Next Dimension



Lin Baoling is no stranger to moving from two-dimensional to three-dimensional space. In 2017, Lin started rendering the little guy in three dimensions. In 2018, he manufactured the sculpture The Nameless Little Guy, a harbinger of the direction his creations were about to go in. Though his work over the last few years has been predominantly two-dimensional, 2022 has given rise to a comparatively greater shift in direction.



《一個人的遠航》、和《死神》反映出林葆靈在藝術創作上遇到的難關與困境,而《創作的世界》系列是將他對於藝術創作的滿足與踏實感呈現出來。在《創作的世界》的圓形畫布上,林葆靈將畫筆、刷具、顏料當作森林環繞小傢伙,就好比《創作的世界III》和《棲居之所》(2020)中的小傢伙,在畫筆、紙張、顏料管等繪畫工具搭起的帳篷中,才能安然入夢。在一片雪白的寒冬夜晚,小傢伙蹲在營火邊取暖並流露出滿足的神情,此形象由《慾望》(2017)系列發展而來。對林葆靈來說,火給人帶來溫暖與心安之感,生火即是某種慾望的象徵,而他的藝術世界便是靠著創作的慾望不斷推動著。



Voyage and Death reflect the trials and tribulations Lin Baoling has met with in his work, while The Creation series is the presentation of Lin’s feelings of satisfaction and contentment toward artistic creation. On The Creation’s circular canvas, Lin Baoling surrounds the little guy with paint brushes, brushware, and paints; just like the little guys in The Creation III and Dwelling Place who can only fall into sweet dreams in tents built of paint brushes, paper, and pigment tubes. In a snow-white wintery night developed in Lin’s Desire series, the little guy squats by a campfire to warm himself and reveals an expression of contentment. According to Lin Baoling, fire gives people feelings of peace and warmth; lighting a fire is symbolic of desire, and his artistic world depends precisely on the ceaseless push of his desire to create.



進入超時空色域



在藝術史上,打破繪畫平面性的侷限,開創一種新的觀念與格局,非盧齊歐.封塔納的「割破畫布」系列莫屬。林葆靈將小傢伙化身封塔納,拿著小刀奮力地《劃破》艷紅色的巨大畫布,而這一刀劃下彷彿是一道濺血的傷口,也是藝術家在突破創作舒適圈時自虐的過程。劃破畫布還不夠,在作品《斬》中,小傢伙以畫筆為劍,一刀斬斷畫布,如此具有氣勢與殺傷力,早已不再是我們印象中憂鬱、脆弱、易受欺負的形象了。用仍在滲血的繃帶與OK繃包紮的《傷》,是接下來藝術家所經歷的陣痛階段,但唯有經過大破,才能大立;疼痛過後,藝術才得以重生。


Enter the Hyperspace Color Gamut



In the history of art, smashing the confines of the flatness of painting and initiating new concepts and patterns, there can be none other than Lucio Fontana’s Spatial Concept series. In the artwork Cut, Lin Baoling transforms the little guy into Fontana holding a knife, slashing open a giant bright red canvas with all of his strength, leaving a cut like the path of a blood-spattered wound; the process of self-abuse artist goes through when breaking out of creative comfort zones. Slashing open the canvas is still not enough, so using a paint brush like a sword, the little guy cuts the canvas in half in the work Slash. In doing so, he takes on an imposing manner and destructive power, and is no longer the depressed, frail, and easily-bullied image of memory. Using bandages still seeping with blood, Wound is the next stage of pain the artist will experience, but only after going through a big break can the artist stand tall; only after enduring pain can art achieve a rebirth.


林葆靈的最新作品中,最令人驚豔的是跳脫以往既定的藍紫色系框架,用色大膽且無時間性的《斬》系列,它就像是藝術革命再重生的過程,先前提到的《自己領導自己》彷彿為此系列的發展揭開序幕。在此,林葆靈以大面積平塗的方式處理背景,鮮豔的紅色抹去了時間。畫面不再是我們所熟悉的藍紫色夜晚,跳出藍紫色溫柔的舒適圈,小傢伙在象徵革命的紅色包圍之下,顯得更有殺氣與能量,強烈的視覺印象衝擊著感官,挑戰觀者的視覺極限。



Among Lin Baoling’s newest works, the most stunning are those which have moved beyond the previously established blue and purple patterns. The use of bold colors and timelessness in the Slash series is like the process of rebirth after an artistic revolution, the aforementioned One Leading Oneself seeming like the prologue that kicked off this series. Here, Lin Baoling handles the background applying a flat coating of paint to a large area, the bright and colorful red erasing time. The scene is no longer the blue and purple nightscape we are familiar with. Jumping out of the tender blue and purple comfort zone, surrounded by red symbolizing revolution, the little guy appears even more murderous and energetic. The strong visual impression attacks the senses with visual extremes that challenge viewers.



小傢伙在《斬II》中化身為漫畫《浪客劍心》的主角,展式威力強大的劍技「九頭龍閃」。林葆靈在此融合了封塔納的概念,將每個方位的畫布劃破,讓作品從二維衝破至三維空間。為了顯現出速度感,他也以漫畫慣用的粗細速度線來表達,使得整件作品更具破壞性與張力。《斬IV》中的小傢伙的角色又變成了《進擊的巨人》的調查兵團,此兵團肩負著帶領人類衝破高牆邁向自由生活的使命,因此每次出動都抱著決一死戰的心情戰鬥。此精神好比他在藝術道路上所踏出的每一步,每一個新嘗試都是前所未進之地,充滿冒險與驚奇,同時也需抱持破釜沉舟、只進不退的決心。透過2022年林葆靈的最新作品,我們看到了他在追求志業的道路上不斷突破自我,並且在追尋那自由光芒的同時,自身也閃耀著更加耀眼的光芒。



The little guy in Slash II transforms into the main character of manga Rurouni Kenshin, exhibiting the formidable “hitenmitsurugi style” of swordplay. Here, Lin Baoling incorporates Fontana’s concept, slashing canvases from every direction, causing the painting to jump from two dimensions into three-dimensional space. To express a sense of speed, Lin uses thick and thin speed lines habitually adopted in manga, making the whole work more tense and destructive. The little guy’s role in Slash IV becomes the survey corps from Attack on Titan. This corps shoulders the mission to lead humanity in breaking down high walls on the march toward a life of freedom, thus every time they are dispatched, they fight with a do-or-die spirit. This spirit is much like each step Lin treads down the road of art, each new attempt a place yet undiscovered full of adventure and surprise while at the same time cutting off any means of retreat, leaving only the determination to move forward. Through Lin Baoling’s newest works in 2022, we see constant personal breakthroughs in pursuit of his career, and that in pursuit of the radiant light of freedom, Lin too shines all the brighter.

2022年10月2日

《 自由的光芒 》 林葆靈 2022最新畫冊發表座談(直播存檔)

 

2022/10/1(六)2:00-3:30 PM
Catalogue Release and Artist Talk
藝術家:林葆靈
與談人:張瑋特


感謝大家播空前來
共享一個陽光燦爛的午後


感謝今天的與談人
金車文藝中心的張瑋特總監相挺
除了仔細閱讀我的冗長自述與相關專文
也自行查找相關資料
還主動提出先見面討論流程
座談前一天深夜還傳訊息詢問我相關細節
用心到令我覺得不好意思
畢竟那些都是寶貴的時間成本
而瑋特總監給我的感覺是
他不計成本要把這件事做好
著實令我感動
演說能力也令人佩服



感謝國立臺灣藝術大學美術系所專任教授陳貺怡
國立臺灣美術館研究發展組郭懿萱
索卡藝術策展人林家萱
以及母親蔡履惠
因為有她們費心撰文
令畫冊大為增色



也要感謝索卡藝術精心籌劃這次活動與出版這本近300頁的軟精裝畫冊
收錄了2016-2022年的作品
厚厚的一本
承載了好多生命中的點點滴滴



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#自由的光芒 – 林葆靈個展丨The Light of Freedom – A Solo Exhibition by LIN Bao Ling
▎展  期 Date丨2022/09/03 (Sat.) - 2022/10/29 (Sat.)
▎開放時間 Opening Hours丨週二至週六 10:00-19:00
▎地  點 Location丨#索卡藝術.台北丨台北市中山區堤頂大道二段350號丨Soka Art Taipei丨No.350, Sec.2, Tiding Blvd., Zhongshan Dist., Taipei City
▎聯  繫 Contact丨02-2533-9658