這作品很不林葆靈？淺談創作者的風格轉變｜This work isn't very Lin Bao-ling, is it? A Brief Exploration of an Artist's Stylistic Shift
（↓ English version below）
一邊工作，一邊聽 Podcast。
主持人談到日本作家吉田修一的新作品《愛你一萬年》，說有不少讀者認為：「很不吉田修一。」
這讓我想起我最近的個展《一瞬微光》。有兩位朋友告訴我，覺得我的風格變了很多；也有一位2013年就認識的藏家朋友說，他覺得《馬拉巴栗之歌》很不葆靈。
我也想起很多年前在金車文藝中心聯展時，一位策展人朋友第一次看到《沒有名字的小傢伙》系列，他之前基本上只看過我的《夜曲》系列，也說：「很不林葆靈。」
作為一個創作者，作品是否一定要符合觀眾對你的既定期待？我想，答案見仁見智。
不過，有一點我倒是很確定：我們很多人連自己都未必真正了解，更別說徹底了解另一個人。人本來就有很多不同的面向。
所以，每當我聽到「這作品很不像某某某」時，我都會想，看來作者展現了他/她另一面。
與其說「這很不像誰」，不如更精確地說：「這件/這些作品，和我過去對他作品的印象很不一樣。」
就像以《人間失格》聞名的作家太宰治，也不只寫厭世、頹喪的作品，同樣寫過許多輕鬆幽默的生活隨筆。
對我而言，創作風格的改變一直都是自然而然的。隨著年紀增長、生命際遇改變，作品也會慢慢產生一些轉化。這通常不算刻意為之，也不是想挑戰觀眾對我的既定印象。
就像一個人，如果每天都吃一模一樣的東西，久了也會覺得膩；創作也是如此。如果一直套用同一套公式，或始終描繪完全相同的題材，時間久了，或多或少應該也會感到無聊，自然而然地想嘗試一點不一樣的東西。
This work isn't very Lin Bao-ling, is it? A Brief Exploration of an Artist's Stylistic Shift
一邊工作，一邊聽 Podcast。
主持人談到日本作家吉田修一的新作品《愛你一萬年》，說有不少讀者認為：「很不吉田修一。」
這讓我想起我最近的個展《一瞬微光》。有兩位朋友告訴我，覺得我的風格變了很多；也有一位2013年就認識的藏家朋友說，他覺得《馬拉巴栗之歌》很不葆靈。
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林葆靈 Lin Bao Ling｜《馬拉巴栗之歌》Malabar Chestnut's Song 壓克力與亮粉於畫布 Acrylic and glitter on canvas ｜90 x 90 cm ｜2025 |
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林葆靈 /〈18 Dec 2015〉/ 複合媒材於水彩紙 / 13 x 18公分 / 2015 LIN Bao Ling / 18 Dec 2015 / mixed media on water colour paper / 13 x 18 cm /2015 |
作為一個創作者，作品是否一定要符合觀眾對你的既定期待？我想，答案見仁見智。
不過，有一點我倒是很確定：我們很多人連自己都未必真正了解，更別說徹底了解另一個人。人本來就有很多不同的面向。
所以，每當我聽到「這作品很不像某某某」時，我都會想，看來作者展現了他/她另一面。
與其說「這很不像誰」，不如更精確地說：「這件/這些作品，和我過去對他作品的印象很不一樣。」
就像以《人間失格》聞名的作家太宰治，也不只寫厭世、頹喪的作品，同樣寫過許多輕鬆幽默的生活隨筆。
對我而言，創作風格的改變一直都是自然而然的。隨著年紀增長、生命際遇改變，作品也會慢慢產生一些轉化。這通常不算刻意為之，也不是想挑戰觀眾對我的既定印象。
就像一個人，如果每天都吃一模一樣的東西，久了也會覺得膩；創作也是如此。如果一直套用同一套公式，或始終描繪完全相同的題材，時間久了，或多或少應該也會感到無聊，自然而然地想嘗試一點不一樣的東西。
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This work isn't very Lin Bao-ling, is it? A Brief Exploration of an Artist's Stylistic Shift
While working, I had a podcast playing in the background.
The host mentioned Love You for Ten Thousand Year (罪名、一万年愛す), the new book by Japanese author Shuichi Yoshida, noting that quite a few readers found it to be "not very Shuichi Yoshida."
This reminded me of my recent solo exhibition, A Fleeting Light (一瞬微光). Two friends told me they felt my style had changed significantly. Another collector friend, who has known me since 2013, also mentioned that he thought the Malabar Chestnut‘s Song was "not very Bao-ling."
It also brought back a memory from years ago during a group exhibition at the King Car Cultural & Art Center. A curator friend saw my Nameless Little Guy series for the first time—having previously only seen my Nocturne series—and remarked, "This isn't very Lin Bao-ling."
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林葆靈 Lin Bao Ling｜ 《2015年12月8日》8 Dec 2015 ‧ 複合媒材於素描紙 Mixed media on paper 13×18cm｜2015 |
As a creator, must your work always align with the audience’s existing expectations? I suppose opinions vary on this.
However, there is one thing I am quite certain of: many of us don't even fully understand ourselves, let alone completely understand someone else. People naturally have many different facets.
So, whenever I hear "this work doesn't seem like so-and-so," I tend to think: It seems the creator is simply revealing another side of themselves.
Rather than saying "this isn't like them," it would be more accurate to say: "This piece—or body of work—is quite different from my previous impression of them."
Just like Osamu Dazai, known for No Longer Human, he didn't exclusively write dark, despondent literature. He also penned many lighthearted, humorous essays about everyday life.
For me, shifts in artistic style have always happened naturally. As I grow older and experience different chapters in life, my work undergoes subtle transformations. This is rarely a deliberate choice, nor is it an attempt to challenge what the audience expects of me.
It's like food: if you eat the exact same meal every single day, you'll eventually tire of it. Creation works the same way. If you constantly apply the same formula or depict the exact same subject matter, over time, boredom is bound to set in. Naturally, you'll want to try something a little different.
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