林葆靈受邀參展《思潮共振：2024新北市美術家聯展》｜Lin Bao-Ling Participates in 2024 The Grand Exhibition of New Taipei City Artists

3/13/2024

林葆靈受邀參展《思潮共振：2024新北市美術家聯展》｜Lin Bao-Ling Participates in 2024 The Grand Exhibition of New Taipei City Artists

展出時間:3/15(六)-4/14(日) ，依各館舍開放時間展出

榮幸受新北市政府文化局邀請參展2024新北市美術家聯展
邀請對象為長期深耕於本市藝術家
想想真是時光飛逝

不知不覺
我自2008年返台
在台北創作不輟自今16年
確實也算長期了吧

林葆靈 /《泛黃的夜》/ 複合媒材於製圖膠片 /59 x 141 公分 / 2017 /展出於新莊文化藝術中心
LIN Bao Ling / Yellowed Night /mixed media on multi-media vellum / 23.2 x 55.5 in / 2017 / exhibited at Xinzhuang Culture and Arts Center

Honored to have been invited by the Cultural Affairs Department, New Taipei City Government to participate in the 2024 The Grand Exhibition of New Taipei City Artists. The invitation is extended to artists who have been deeply engaged in the city's art scene for an extended period. Time truly flies when you think about it. Unconsciously, since my return to Taiwan in 2008, I have been continuously creating art in Taipei for 16 years now. It does indeed qualify as a long time.

Thank you for Soka Art's exhibition assistance.

-

《泛黃的夜》創作理念

「所有的光鮮亮麗都敵不過時間，並且一去不復返」

-法蘭西斯·史考特·費茲傑羅，《大亨小傳》

在京都旅行時，偶然看到一本老照片集，紀錄幕末維新時，京都的人與景。一張張年代久遠，泛黃褪色的手工上色照片，傳遞了來自過去的片斷訊息, 彌漫著蒼桑的氣味。今昔對照，令人有些時光飛逝的感傷；卻也有另一種美，大地色系散發著溫暖也產生懷舊感。那些手工上色的老照片或可說是攝影與繪畫的融合，低飽和度的色彩，低調典雅，散發難以名狀的迷人魅力。

夜裡漫步在古都, 有時讓人覺得恍若回到從前; 但象徵現代文明進步的人造光總也會提醒我身處於當代。人造光與古老建築的結合, 彷彿連結了現在與過去。而一轉眼，現在就成了過去。昨天還和你有說有笑的人，今天就成了故人; 所謂當代，彷彿轉瞬就變成古代，一切轉瞬就泛黃褪色, 包括記憶。

《泛黃的夜》系列保留了我畫作中一貫有的流動、潑灑與渲染效果以及影像感等。題材上只挑選充滿大量人造光的當代夜景，並帶入老照片的特點: 泛黃褪色、斑駁折損與漏光等; 也如同給黑白照片上色般, 給單色畫局部上色, 再抹去過艷的色彩, 如同時間導致褪色; 試圖營造一種時空錯亂的和諧違和感。畫中的光影明暗對比因整體泛黃的色調而減弱，兩者不再壁壘分明，彼此更接近了一些，畫面變得相對柔和；彷若兩個彼此對立的人鬆開了緊握的拳頭。攝影的底片漏光效果淡化甚至消融了景物，如同現實中隨著時間不斷消逝的人事物景。

瀏覽《泛黃的夜》系列點此 <t

新莊文化藝術藝術中心展出現場

About Yellowed Night

“All the bright precious things fade so fast, and they don't come back.”

— F. Scott Fitzgerald, The Great Gatsby

While traveling in Kyoto, I chanced upon a collection of old photographs documenting the people and scenery of the city during the Bakumatsu and Meiji Restoration eras. Hand-colored, faded, and yellowed with age, each image conveyed fragmented messages from the past, steeped in an aura of time’s passage. Comparing the past with the present brought a touch of melancholy over how quickly time flies, yet it also revealed a different kind of beauty—where earth tones exuded warmth and a profound sense of nostalgia. These hand-colored vintage photos could be seen as a fusion of photography and painting. Their low-saturation colors, understated and elegant, carried an indescribable, captivating charm.

Walking through the ancient capital at night, I sometimes felt as though I had slipped back in time. Yet, the artificial lights—symbols of modern progress—would always pull me back, reminding me of the contemporary world. This juxtaposition of artificial light and ancient architecture seemed to bridge the present and the past. And in the blink of an eye, the present becomes history. Someone you were laughing and talking with yesterday becomes a memory today. The so-called "contemporary" seems to turn into antiquity in a flash; everything yellows and fades in an instant, including our memories.

The Yellowed Night series retains the signature fluidity, splashing, bleeding effects, and cinematic quality found throughout my paintings. In terms of subject matter, I chose contemporary nightscapes saturated with artificial light, while infusing them with the characteristics of old photographs: yellowing, fading, mottled textures, creases, and light leaks. Much like tinting a black-and-white photograph, I applied local color to monochromatic paintings and then wiped away the excessive vibrancy—mimicking the natural fading caused by time—in an attempt to create a harmonious yet dissonant sense of anachronism.

Due to the overall yellowed tone, the contrast between light and shadow in the paintings is softened; the two are no longer starkly divided but drawn closer together, rendering a gentler composition—as if two adversaries had finally unclenched their fists. The photographic light-leak effect further dilutes and even dissolves the scenery, mirroring the people, things, and places that continuously slip away with the passage of time in reality.

View Yellow Night series <<

Click here to view the exhibition online.

線上瀏覽展出作品點此 <<

【思潮共振-2024新北市美術家聯展】

新莊文化藝術中心為新北市歷史悠久的展演複合式藝文空間，新莊更是擁有著傳統文化及新型都市發展的多重文化景觀。因而引入本次策展方向，將具有東方傳統書畫水墨的作品作為展覽的開端，並試圖引入調性能與之產生共鳴的西方繪畫作品。中心兩側展覽廳從右側進入即以與新莊地緣深厚的書法名家作品為開場，逐漸走向自然水墨的風景繪畫及都市印象與人類身處的心境表現。左側則以動物的進入為開場，一路看見具有奇幻風格的動物與人類形象，形塑了一場奇幻動物與人類的交流世界。在這裡用質地的輕、重、緩、急，建構出今日藝術與人們生命歷程交錯的樣態，既有傳藝精神更有著新世代的創作展現。

｜展出藝術家｜

方駿閔、王錫坤、江盈臻、吳文勝、吳弘鈞、吳啟禎、呂浩維、李錫佳、周明翰、林芷吟、林欽商、#林葆靈、林維新、邱匡瑜、邱國峯、洪永欣、洪耀輝、孫文雄、涂毓修、張守端、曹程凱、許文昌、許國賢、連瑞芬、郭金堂、陳俋佐、彭玉斗、曾安田、湯双進、黃千倫、黃子杰、劉玲利、蔡介騰、蔡孟夏、鄭思宇、龔智明、錢瑞英、戴佳茹、鍾子逸

｜展出時間｜3/15(五）-4/14(日) (休館日4/1、4/4、4/5)

｜開館時間｜09:00-17:00

｜展覽地點｜新莊文化藝術中心、新北市美麗永安藝文中心、新北市藝文中心、新板藝廊、新北市立鶯歌陶瓷博物館、新北市立圖書館樹林分館

星期六的午後
首次來到新莊文化藝術中心看展出作品
短時間內就來了好幾組觀眾
有些人對畫廊望而卻步
鄰里的藝文中心似乎更能讓民眾自在的踏入

有男女老少
有一對男女在我的作品前駐足討論許久
還有坐輪椅的老先生

想起藝術家Lawrence Poons 說他在用色彩對抗命運
也想起漫畫家藤田和日郎好像說過類似
他的漫畫是給孩子們在拉麵店等麵煮好之前打發時間用

生活對每個人都不容易
如果藝術能讓人們在忙碌之餘
增添一點色彩與愉悅就太好了

感謝 Wanhua Peng攝影記錄～

新莊文化藝術藝術中心展出現場
林葆靈審視自己的作品
攝影/彭婉華

A Saturday afternoon.

It was my first time visiting the Xinzhuang Culture and Arts Center to see the exhibition. Within a short time, several groups of visitors arrived. While some people might find commercial galleries intimidating, a neighborhood arts center like this seems to offer a more welcoming and comfortable space for the public to step inside.

The crowd spanned all ages. There was a couple who stood in front of my artwork, pausing to discuss it for a long while, and an elderly gentleman in a wheelchair.

It reminded me of what artist Larry Poons once said about using color to fight against fate. It also brought to mind the manga artist Kazuhiro Fujita, who said something similar—that his manga was simply meant to help kids pass the time at a ramen shop while waiting for their noodles.

Life isn’t easy for anyone. If art can add a little color and joy to people's lives amidst their busy routines, that would be wonderful.

Special thanks to Wanhua Peng for the photographic documentation.