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
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