Back to the Root:A Retrospective of LIN Hsin-Yueh
2008.02.22～2008.05.04
09:00 - 17:00
For many, 'home' means a place where one feels a sense of permanent belonging. Despite the frequent changes in styles and contents between different stages, throughout a career which spans nearly half a century, Lin's artistic practice has always been shaped by a profound yearning for 'home', or, an endless quest of a spiritual shelter. One can suggest that underlying Lin's numerous works are these recurring questions:
Where is my home?”
And how do I get there?” For Lin Hsin-yueh, the road back to the root is an endless journey of exploration, and the urge for root-searching is almost like an instinct, or even a code of life, which motivates him to continue painting. It seems that this instinct is inherent in Lin's life which had to be triggered by experience of hardship during his childhood, before it developed into a preoccupation and strong will which guides him to search his own place of spiritual belonging. The source of inspiration for Lin's creative practice lies in the root of life: that is, the source of mental energy which keeps one's spirit up even when tested by great calamities; and the root-searching instinct has always been a crucial part of such energy. As Lin was orphaned in the childhood and dispossessed in the youth, the experience of hardship and helplessness was central to his yearning for belonging. It is worth emphasizing that such an experience of helplessness, as well as sense of isolation, can be seen to also characterize, or even relate to, the frustrating history and political situations of Taiwan in the twentieth century. In view of Lin Hsin-yueh's own life and experience, the bends and twists in his art development can be seen to suggest that art is not about apocalypse or lofty summits of genius; rather, it is about reflecting the Zeitgeist, or 'spirit of the age'. After graduating from Department of Fine Arts, National Normal University, Lin Hsin-yueh began to develop a unique surrealist painting style which is characterized by mysterious atmospheres. It can be suggested that Lin has taken art not only as a means of self-expression, but also as an escape route. On the one hand, with a surrealist style, Lin often projects his deep sense of loss and loneliness in art by creating a poetics yet desolate wasteland filled with dejection, melancholy, and isolation. On the other hand, he also tends to use blue and pale colors to create a faraway and blurred, peaceful dreamworld, in which he could seek eternity amid the fickleness in life. In 1976, Lin began a three-year study trip in Spain, where he witnessed the turbulent process of democratization following the death of Spanish dictator General Francisco Franco. This experience inspired Lin to re-examine the history and art history of his homeland, Taiwan － her past, present, and future. In 1978, Lin was to return to Taiwan to take charge of the Exchange Exhibition for Spanish Contemporary Arts. However, upon his return, the Korean Airline flight that he took was forced to land in Russia due to mis-entry. The ordeal further prompted Lin to contemplate upon the social responsibilities of an artist. In a lively, incisive and forceful writing style, Lin then began to develop in his art criticism a self-reflexive and critical Taiwanese local perspective. With regard to Lin's paintings, he also underwent a major shift in styles and contents from the 1980s onwards, as the artist departed from the wonderland of surrealism, to create realist paintings based on Taiwan's landscapes. In particular, since the late 1980s, Lin Hsin-yuen has often employed large scale oil paintings to portray the beauty and vitality of Taiwan's natural landscapes, e.g. the mountains, waterfalls, streams, etc. The new millennium sees Lin Hsin-yueh's art practice develop in two directions. On the one hand, Lin continues to portray the multi-faceted reality of contemporary Taiwan by accurately observing and representing Taiwan's natural landscapes and people. On the other hand, as he delves deep into history, he also makes a return to surrealism, and in doing so to reveal the strong and lively inner self. Back to the Root: A Retrospective of LIN Hsin-yueh presents a total about 100 pieces of works. These works include sketches, watercolor paintings, as well as the nearly one hundred oil paintings which are perhaps most representative of Lin's works. Designed to accentuate the variety of styles and comprehensiveness of repertoires in Lin's works, this retrospective exhibition attempts to show how Lin Hsin-yuen interacts with the reality of our time with his root-searching instinct, and how he constructs his spiritual home through artistic practice. (By TSAI Chao-yi)
Where is my home?”
And how do I get there?” For Lin Hsin-yueh, the road back to the root is an endless journey of exploration, and the urge for root-searching is almost like an instinct, or even a code of life, which motivates him to continue painting. It seems that this instinct is inherent in Lin's life which had to be triggered by experience of hardship during his childhood, before it developed into a preoccupation and strong will which guides him to search his own place of spiritual belonging. The source of inspiration for Lin's creative practice lies in the root of life: that is, the source of mental energy which keeps one's spirit up even when tested by great calamities; and the root-searching instinct has always been a crucial part of such energy. As Lin was orphaned in the childhood and dispossessed in the youth, the experience of hardship and helplessness was central to his yearning for belonging. It is worth emphasizing that such an experience of helplessness, as well as sense of isolation, can be seen to also characterize, or even relate to, the frustrating history and political situations of Taiwan in the twentieth century. In view of Lin Hsin-yueh's own life and experience, the bends and twists in his art development can be seen to suggest that art is not about apocalypse or lofty summits of genius; rather, it is about reflecting the Zeitgeist, or 'spirit of the age'. After graduating from Department of Fine Arts, National Normal University, Lin Hsin-yueh began to develop a unique surrealist painting style which is characterized by mysterious atmospheres. It can be suggested that Lin has taken art not only as a means of self-expression, but also as an escape route. On the one hand, with a surrealist style, Lin often projects his deep sense of loss and loneliness in art by creating a poetics yet desolate wasteland filled with dejection, melancholy, and isolation. On the other hand, he also tends to use blue and pale colors to create a faraway and blurred, peaceful dreamworld, in which he could seek eternity amid the fickleness in life. In 1976, Lin began a three-year study trip in Spain, where he witnessed the turbulent process of democratization following the death of Spanish dictator General Francisco Franco. This experience inspired Lin to re-examine the history and art history of his homeland, Taiwan － her past, present, and future. In 1978, Lin was to return to Taiwan to take charge of the Exchange Exhibition for Spanish Contemporary Arts. However, upon his return, the Korean Airline flight that he took was forced to land in Russia due to mis-entry. The ordeal further prompted Lin to contemplate upon the social responsibilities of an artist. In a lively, incisive and forceful writing style, Lin then began to develop in his art criticism a self-reflexive and critical Taiwanese local perspective. With regard to Lin's paintings, he also underwent a major shift in styles and contents from the 1980s onwards, as the artist departed from the wonderland of surrealism, to create realist paintings based on Taiwan's landscapes. In particular, since the late 1980s, Lin Hsin-yuen has often employed large scale oil paintings to portray the beauty and vitality of Taiwan's natural landscapes, e.g. the mountains, waterfalls, streams, etc. The new millennium sees Lin Hsin-yueh's art practice develop in two directions. On the one hand, Lin continues to portray the multi-faceted reality of contemporary Taiwan by accurately observing and representing Taiwan's natural landscapes and people. On the other hand, as he delves deep into history, he also makes a return to surrealism, and in doing so to reveal the strong and lively inner self. Back to the Root: A Retrospective of LIN Hsin-yueh presents a total about 100 pieces of works. These works include sketches, watercolor paintings, as well as the nearly one hundred oil paintings which are perhaps most representative of Lin's works. Designed to accentuate the variety of styles and comprehensiveness of repertoires in Lin's works, this retrospective exhibition attempts to show how Lin Hsin-yuen interacts with the reality of our time with his root-searching instinct, and how he constructs his spiritual home through artistic practice. (By TSAI Chao-yi)
For many, 'home' means a place where one feels a sense of permanent belonging. Despite the frequent changes in styles and contents between different stages, throughout a career which spans nearly half a century, Lin's artistic practice has always been shaped by a profound yearning for 'home', or, an endless quest of a spiritual shelter. One can suggest that underlying Lin's numerous works are these recurring questions:
Where is my home?”
And how do I get there?” For Lin Hsin-yueh, the road back to the root is an endless journey of exploration, and the urge for root-searching is almost like an instinct, or even a code of life, which motivates him to continue painting. It seems that this instinct is inherent in Lin's life which had to be triggered by experience of hardship during his childhood, before it developed into a preoccupation and strong will which guides him to search his own place of spiritual belonging. The source of inspiration for Lin's creative practice lies in the root of life: that is, the source of mental energy which keeps one's spirit up even when tested by great calamities; and the root-searching instinct has always been a crucial part of such energy. As Lin was orphaned in the childhood and dispossessed in the youth, the experience of hardship and helplessness was central to his yearning for belonging. It is worth emphasizing that such an experience of helplessness, as well as sense of isolation, can be seen to also characterize, or even relate to, the frustrating history and political situations of Taiwan in the twentieth century. In view of Lin Hsin-yueh's own life and experience, the bends and twists in his art development can be seen to suggest that art is not about apocalypse or lofty summits of genius; rather, it is about reflecting the Zeitgeist, or 'spirit of the age'. After graduating from Department of Fine Arts, National Normal University, Lin Hsin-yueh began to develop a unique surrealist painting style which is characterized by mysterious atmospheres. It can be suggested that Lin has taken art not only as a means of self-expression, but also as an escape route. On the one hand, with a surrealist style, Lin often projects his deep sense of loss and loneliness in art by creating a poetics yet desolate wasteland filled with dejection, melancholy, and isolation. On the other hand, he also tends to use blue and pale colors to create a faraway and blurred, peaceful dreamworld, in which he could seek eternity amid the fickleness in life. In 1976, Lin began a three-year study trip in Spain, where he witnessed the turbulent process of democratization following the death of Spanish dictator General Francisco Franco. This experience inspired Lin to re-examine the history and art history of his homeland, Taiwan － her past, present, and future. In 1978, Lin was to return to Taiwan to take charge of the Exchange Exhibition for Spanish Contemporary Arts. However, upon his return, the Korean Airline flight that he took was forced to land in Russia due to mis-entry. The ordeal further prompted Lin to contemplate upon the social responsibilities of an artist. In a lively, incisive and forceful writing style, Lin then began to develop in his art criticism a self-reflexive and critical Taiwanese local perspective. With regard to Lin's paintings, he also underwent a major shift in styles and contents from the 1980s onwards, as the artist departed from the wonderland of surrealism, to create realist paintings based on Taiwan's landscapes. In particular, since the late 1980s, Lin Hsin-yuen has often employed large scale oil paintings to portray the beauty and vitality of Taiwan's natural landscapes, e.g. the mountains, waterfalls, streams, etc. The new millennium sees Lin Hsin-yueh's art practice develop in two directions. On the one hand, Lin continues to portray the multi-faceted reality of contemporary Taiwan by accurately observing and representing Taiwan's natural landscapes and people. On the other hand, as he delves deep into history, he also makes a return to surrealism, and in doing so to reveal the strong and lively inner self. Back to the Root: A Retrospective of LIN Hsin-yueh presents a total about 100 pieces of works. These works include sketches, watercolor paintings, as well as the nearly one hundred oil paintings which are perhaps most representative of Lin's works. Designed to accentuate the variety of styles and comprehensiveness of repertoires in Lin's works, this retrospective exhibition attempts to show how Lin Hsin-yuen interacts with the reality of our time with his root-searching instinct, and how he constructs his spiritual home through artistic practice. (By TSAI Chao-yi)
Where is my home?”
And how do I get there?” For Lin Hsin-yueh, the road back to the root is an endless journey of exploration, and the urge for root-searching is almost like an instinct, or even a code of life, which motivates him to continue painting. It seems that this instinct is inherent in Lin's life which had to be triggered by experience of hardship during his childhood, before it developed into a preoccupation and strong will which guides him to search his own place of spiritual belonging. The source of inspiration for Lin's creative practice lies in the root of life: that is, the source of mental energy which keeps one's spirit up even when tested by great calamities; and the root-searching instinct has always been a crucial part of such energy. As Lin was orphaned in the childhood and dispossessed in the youth, the experience of hardship and helplessness was central to his yearning for belonging. It is worth emphasizing that such an experience of helplessness, as well as sense of isolation, can be seen to also characterize, or even relate to, the frustrating history and political situations of Taiwan in the twentieth century. In view of Lin Hsin-yueh's own life and experience, the bends and twists in his art development can be seen to suggest that art is not about apocalypse or lofty summits of genius; rather, it is about reflecting the Zeitgeist, or 'spirit of the age'. After graduating from Department of Fine Arts, National Normal University, Lin Hsin-yueh began to develop a unique surrealist painting style which is characterized by mysterious atmospheres. It can be suggested that Lin has taken art not only as a means of self-expression, but also as an escape route. On the one hand, with a surrealist style, Lin often projects his deep sense of loss and loneliness in art by creating a poetics yet desolate wasteland filled with dejection, melancholy, and isolation. On the other hand, he also tends to use blue and pale colors to create a faraway and blurred, peaceful dreamworld, in which he could seek eternity amid the fickleness in life. In 1976, Lin began a three-year study trip in Spain, where he witnessed the turbulent process of democratization following the death of Spanish dictator General Francisco Franco. This experience inspired Lin to re-examine the history and art history of his homeland, Taiwan － her past, present, and future. In 1978, Lin was to return to Taiwan to take charge of the Exchange Exhibition for Spanish Contemporary Arts. However, upon his return, the Korean Airline flight that he took was forced to land in Russia due to mis-entry. The ordeal further prompted Lin to contemplate upon the social responsibilities of an artist. In a lively, incisive and forceful writing style, Lin then began to develop in his art criticism a self-reflexive and critical Taiwanese local perspective. With regard to Lin's paintings, he also underwent a major shift in styles and contents from the 1980s onwards, as the artist departed from the wonderland of surrealism, to create realist paintings based on Taiwan's landscapes. In particular, since the late 1980s, Lin Hsin-yuen has often employed large scale oil paintings to portray the beauty and vitality of Taiwan's natural landscapes, e.g. the mountains, waterfalls, streams, etc. The new millennium sees Lin Hsin-yueh's art practice develop in two directions. On the one hand, Lin continues to portray the multi-faceted reality of contemporary Taiwan by accurately observing and representing Taiwan's natural landscapes and people. On the other hand, as he delves deep into history, he also makes a return to surrealism, and in doing so to reveal the strong and lively inner self. Back to the Root: A Retrospective of LIN Hsin-yueh presents a total about 100 pieces of works. These works include sketches, watercolor paintings, as well as the nearly one hundred oil paintings which are perhaps most representative of Lin's works. Designed to accentuate the variety of styles and comprehensiveness of repertoires in Lin's works, this retrospective exhibition attempts to show how Lin Hsin-yuen interacts with the reality of our time with his root-searching instinct, and how he constructs his spiritual home through artistic practice. (By TSAI Chao-yi)
Works
