〈The Collapsed House〉
acrylic
53.0×45.5 cm
2010
〈房子倒下了〉
壓克力顏料
53.0×45.5 cm
2010
53.0×45.5 cm
2010
〈Bubble Bath〉
acrylic
53.0×45.5 cm
2010
〈泡泡浴〉
壓克力顏料
53.0×45.5 cm
2010
53.0×45.5 cm
2010
〈Once Being But Now Lost
acrylic
53.0×45.5 cm
2010
〈消失卻存在的曾經〉
壓克力顏料
53.0×45.5 cm
2010
53.0×45.5 cm
2010
〈Greenhouse〉
acrylic
120.0x45.5 cm
2010
2010
Private collection
〈溫室〉
壓克力顏料
120.0x45.5 cm
2010
私人收藏
120.0x45.5 cm
2010
私人收藏
〈The Manor with a Forgotten Name〉
acrylic
41.0×31.5 cm
2010
Private collection
〈忘記名稱的莊園〉
壓克力顏料
41.0×31.5 cm
2010
41.0×31.5 cm
2010
私人收藏
〈Cockadoodle Tree〉
acrylic
45.5×38.0 cm
2010
〈咕雞樹〉
壓克力顏料
45.5×38.0 cm
2010
45.5×38.0 cm
2010
〈Television〉
acrylic
33.0×24.0 cm
2010
〈電視機〉
壓克力顏料
33.0×24.0 cm
2010
33.0×24.0 cm
2010
〈Twin Beds
acrylic
100.0×80.0 cm
2010
〈雙單人床〉
壓克力顏料
100.0×80.0 cm
2010
In the
production of this series, Lin collected several images of Western architecture
and domestic objects from magazines and books. She subsequently cut and pasted them
into a collage for the draft, creating a domain without a boundary, and then painted
the final draft on the canvas.
These objects do not belong to a certain background
or chronological context: some belong to the Greek and Roman style, some are
Medieval manors, some are Baroque or Neo-Classical, while some styles were
developed after the 20th century. They do not refer to a specific historical
era, but are symbols of various other cultures.
The process of clipping images
from books and producing them into a draft reflects the source from which one
acquires Western images—the media. Since the collaged draft was represented
through painting, the Western images in this series seem to float in limbo and
are detached from their background, forming a fractured, collaged and unrooted
state, thus illustrating the non-local characteristics of these images.
The
space and images on the canvas render surreal imageries. For Lin, the surreality
is not the fantasy land often being referred to in art history, but the inner
state of consciousness. That is to say, the paintings are projections of the
inner landscape. There are also no signs of local symbols on the canvas.
Through the cold tones and the process of drafting the collages as described
above, Lin attempts to depict the alienation and lost state that the inner self
comprehends of reality, or even illustrate the symbols of desire for "complete
Westernization."
在製作這一系列的繪畫創作時，林晏竹先蒐集雜誌與書籍媒體上許多關於西洋建築與室內物件的圖像，再將它們剪貼在紙上製作成草稿，在畫面中拼貼出一個沒有邊界的場域，而後將製作好的草稿描繪於於畫布。
這些物件並沒有背景年代的脈絡關係：有些是希臘羅馬時期風格，有些是中世紀的莊園建築，有些是巴洛克風格，有些則是新古典主義，或是20世紀之後的風格物件等；它們沒有歷史年代的指涉，而是為種種他者文化的象徵符號。
從書籍上剪貼圖像製作草稿的動作，反映出對於西方影像的獲得來源——媒體。加上因為透過繪畫方法再現拼貼製作的草稿的緣故，在此系列作品的畫面中，這些西方風格的圖像有如漂浮於混沌之上，與背景脫節，形成斷裂、拼貼、非扎根的狀態，也恰顯示這些圖像非本地出產的特質。
畫面中的空間與圖像呈現出一種超現實的景象，林晏竹認為這樣的超現實並非藝術史中所指涉的夢境，對她而言則是內在的意識狀態，作品畫面即如內在場域的投射。畫面中不見在地性的符號，透過冷調的色彩與上述草稿的拼貼過程，創作者試圖描繪自我內在對現實環境的疏離、失落狀態，甚至是一種「全面西化」的慾望象徵。