Online Viewing Room
【RenAi Gallery】 Wind Catcher – Lin Dingyi
4.18 – 6.13 , 2020

Exhibition


開幕式影片

開幕式照片

Shanghai Gallery

展場影片

Bluerider ART 延續推出一系列當代雕塑家,包括斯洛伐克Stefan Papco、德國Willi Siber、荷蘭Reinoud Oudshoorn、德國Angela Glacjar,各自以金屬、土、木、鋼、鐵、紙等多樣媒材,表達其獨特社會學、空間環境,以至形而上精神等創作理念,將再於2020年4月於Bluerider ART 台北.仁愛,推出新代理藝術家 林定義 Lin, Dingyi 首個展 ‘如捕風 Wind Catcher’ ,展出藝術家生平多件不銹鋼雕塑系列作品。

無論在東方或是西方,雕塑皆擁有悠久的歷史,直到二十世紀,社會環境影響下,雕塑開始呈現豐富的形式表現與精神層面的探討,從過去傳統既有的媒材與主題,逐步走向觀念藝術、裝置進展到公共藝術這塊領域,從威權時代的雕塑,轉變進入當代討論公共性、社會性、民族性、及探討文化內涵的雕塑概念。而在全球化時代,有雕塑藝術家專注於身體造型的轉換與再現,有的則於自然中取之造形。因為雕刻、製模及仿造等技術的不斷演進,立體主義、動力藝術所帶來技術轉變,使得雕塑的語言不斷變形,民族誌藝術的影響則為藝術家提供更多的表達方式。

相對於西方雕塑的抽象主義概念的崛起,過去的中國雕塑以具象為主體,本身缺少西方的脈絡,而是逐漸地在政治環境下產生變化。自 1980 年代開始,中國社會處於極大轉變中,在西方藝術流派的碰撞下,許多藝術家側重藝術的思考和對文化觀念的表達,更強調雕塑與現實社會的關聯。因經濟改革開放及資訊交流,雕塑的創作概念與形式不斷被解構、重新構成,當代中國藝術家直接指向精神性的思考,突破、試圖揭露當代社會現實的狀況與探討心靈與環境之間的對話,也以自己的力量去反映社會政治下的壓力。中國當代雕塑走向了多元化的趨勢,如當代藝術家隋建國的雕塑,是重新尋找中國的特色定位及對快速發展時代的反省,反映了整個中國的現實與社會變遷,運用著思辨的語言,拋棄了傳統具象雕塑的形,回歸到人及現實生活中。臺灣的雕塑則是在學院體系中傳承為主,試圖在雕塑中探索文化的主體性,如 1970-80 年代藝術家楊英風將東方文化虛實空間的概念,融入西方雕塑概念中,以不鏽鋼為媒材創作,展現「雕塑應為環境所生」的理念,其門下之藝術家朱銘,則結合傳統木雕及現代雕塑精神,將抽象形式與太極招式融合創作出經典的《太極系列》,而作品《人間系列》則探究個體與群體內心的問題。

臺灣的雕塑則是在學院體系中傳承為主,試圖在雕塑中探索文化的主體性,楊英風將東方文化虛實空間的概念,融入西方雕塑概念中,以不鏽鋼為媒材創作,展現「雕塑應為環境所生」的理念

朱銘則結合傳統木雕及現代雕塑精神,將抽象形式與太極招式融合創作出經典的《太極系列》,《人間系列》則探究個體與群體內心的問題

本次在 Bluerider ART 台北.仁愛的個展‘如捕風 Wind Catcher’將展出藝術家林定義系列作品「如捉影、如捕風」中簡潔優雅,俐落線條,大小不一的數十件雕塑,有機與無機線條刻畫出日、月、風、火、影、土地的形貌,自由又顯得安靜, 飛揚又內斂。風,流動之意,在古代詩人中亦經常被引用:「我欲乘風歸去」-蘇軾《水調歌頭》,「桃花依舊笑春風」-崔護《題都城南莊》,「春風又綠江南岸」-王安石《泊船瓜洲》,林定義則以自己獨特的語言詮釋「如捕風」,曾說:「我的藝術,是想把生命的真誠與愛留給世人。」,一如莊子在《齊物論》中「方生方死,方死方生」表達生與死是不斷地循環反覆,不必特別為「生」而喜樂、亦不需為了「死」而感到悲傷,這樣豁達超然的觀念,也是萬物主宰的定律。歷經生死的林定義,在作品中試圖訴說:藝術,是創作者本身必須持續與自己對話與質問的過程,經歷世事變遷,最重要的,是要為了自己的生命負責,此生此刻都要真實地面對自己

媒體報導

Artist story


Video

林定義 DingYi Lin
(Chinese, b.1971)

Born in Taipei, BFA Sculpture, China Academy of Art, China in 1997. Lin currently lives and works in Xiamen, also manage as Director of the Xiamen Unusual Museum. Over the past twenty years, Lin had been dedicated to his art and had created many series of art works mainly using stainless steel and red copper. Lin had several awards including the Biennial Award of the 10th International Biennial Print Exhibit with works collected by National Taiwan Museum of Fine Arts, Taiwan Arts Exhibition Award and the National Literature and Art Award. Lin's first work of architecture, Taiwan Baishi Art Museum, is known for its arty style of design and had been exposed in many commercial shootings. His permanent collection including the monumental sculpture at the lobby of Xiamen Continental Hotel.

With multiple identities as museum director, architecture designer, interior designer, Lin has plentiful experiences both in the field of fine art and applied arts. Stainless steel is applied as main medium for his sculpture works. The idea for creating sculpture to Lin is not about reinforcing the symbol of the East or the West, metaphorically the artist considers himself as a man living in the cave, carving on the rocks and land in an original way to create a world of his own. As many artists frequently asked, "What is the nature of art?" The language Lin applies in his work does not emphasize on fancy transformation of shape or form, instead, his works are quiet and pure, looking for an abstract expression that speaks for the strength of simplicity.

廈門洲際酒店收藏大型12×6米公共裝置「王者歸來」,歷經四個月,近200片35公分大小的不鏽鋼片現地打造

林定義2019年仧美術館個展,展出近年不同系列雕塑作品

The humble character of the artist and the passion towards life lead him to constantly explore the purity of soul through his artwork. He seeks for the most innocent appearance of spirit, believing that all art work derives from the experience of life. The artist once said: " My work is like the marrow and bones in my body. They are inseparable. I can't explore things that are not related to my life." Using pure form to express his perception towards the world, Lin constructs a philosophical view of life. "What I want to convey is that power of guileless, quietly releasing the substance that touches directly to the heart with inner elegance and stability. While time passes, everything becomes small, humble, and irrelevant." With his art, the artist refines the sensitivity and sincerity he had from life.

藝術家特別推崇東方文化中無上境界的美學,將意境、韻味、空靈、含蓄,以純粹、直覺的方式表達

不鏽鋼搭配紅銅作為雕塑的主體,從開始到完成的過程都是一場無法重來、獨一無二的體驗。

純粹的形體,取材於天地的樣貌,如實地捕捉天地的各種形體與對人類生命的探索。以萬物之形的理念,建構出充滿哲理的生命觀

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