林泓君是位繪畫的探險者，總是能將獨特的創新視覺呈現出來。

《林林》系列是以抽象語義抒發個人純粹情感，其創作模式逸脫了描寫的表現方式，同時，在藝術語言樣式方面抽象的機智性與偶然性達到極大的拓展。林的作品中，每一幀畫面都是過去的特定時間節點所呈現的鏡頭，以藝術家的母親林林這一輩子的經歷與時代為背景，時間概念與現實世界的時間流逝完全不一樣，現實的時間被懸置，又將自己置身于此，引入了平行空間概念。亦或逃離了時間流逝的規律！而藝術家和她的作品想要表達的，正是人在時間流逝中的無力和無奈！

林泓君用繪畫重建空間關系，運用的解析手法，用其敏感的色彩去傳達的個人感覺及觀念邊界的探索與重構，“時間-空間”的關系本就是藝術家與“藝術-人生”的關系永遠交結糾纏在一起了。

看《林林》系列需在一個特定的語境、意境、心境中，才能更好的理解它，“三境”會具多重性，我們在一同步入展廳時去感受這種多重性與那些個特定時代吧！

禹廷藝術館：《林林》系列看起來非常抽象，很多人無法通過畫面直接理解你所傳遞的“情感”與“表達”，而需要深層次的去體悟，為什么會采用這樣的方式呢？

林泓君:這系列是我以媽媽的名字“林林”來命名，創作開始的契機是源于退休多年閑來無事的媽媽寫了自傳體的小說，在幫她整理資料時被她們這一代人最具代表性和畫面感的經歷所觸動產生了做這系列作品的念頭，在做作品的之初，一開始我是習慣性用具象手法表達一些人物場景之類，紅衛兵，串聯，上山下鄉，改革開放、千禧年，互聯網.....透過每十年一個時間坐標，連起來就是生活變化的軌跡，后來覺得這個時代實在是很遙遠，而我也只能通過有色玻璃去遙想以及觀察那個時代，那個時代的不真實，已經不再聚焦清晰它失焦抽象隔離碎片化，又重新組合成為那個時代一種特定符號。

Q: Lin Lin series looks very abstract. Many people can't directly understand the "emotion" and "expression" you convey through the pictures, but need deep understanding. Why do they use this way?

Lin: This series is named after my mother's name "Lin Lin".I created this work because of the autobiographical novel written by my mother, who had retired for many years.When I saw the content, I felt some spark.At the beginning of my work, I used to express some characters and scenes in a concrete way,such as reform and open, the millennium, the Internet , etc.Later, I felt that this era was really far away from me, and I could only imagine and observe that era through colored glass. The untrue of that era was no longer focused clearly. It was out of focus, abstract, isolated and fragmented, and then recombined into that era A specific symbol.

禹廷藝術館：既然那個時代你沒有經歷，又是如何在腦海中浮現那個時代的“特定符號”呢？是作為藝術家的直覺嗎？

林泓君：比如在做【1990】這件作品時，我看了很多那個時代的劇，翻了很多紀錄片，一些攝影作品，一些建筑資料，一些關于那個時代小說，那個時代呈現給我的感覺，就是它很聽話，大家還是在那個村里村子里很小，但是很溫暖，相同生活氛圍卻大到不相同人生觀、小到家庭物品的擺設大致相同略有不同，90年代初相對簡單質樸人際關系，工作和夢想成為坊間最大的話題。傳統書信的繼續往來，電話剛剛普及，一些電子設備還未及問世，還未開始大面積拆遷。我在這件作品時選擇有點褪色的暖色調，試圖在空間中相悖的多個維度呈現出形態和生態的雙重特性。

Q: Since you didn't experience that era, how do you come up with the "specific symbol" of that era in your mind? Is it intuition as an artist?

Lin: for example, when I did the work [1990], I watched a lot of dramas of that era, turned a lot of documentaries, some photographic works, some architectural materials, some novels about that era. The feeling presented to me by that era was that it was very obedient. We were still in that village. The village was very small, but it was very warm. The same living atmosphere was very different View.

In the early 1990s, with relatively simple interpersonal relationship, work and dreams became the biggest topics in the community. With the continuous exchange of traditional letters, telephone has just been popularized, and some electronic equipment has not yet come out, and large-scale demolition has not yet begun. In this work, I choose a little faded warm colors, trying to present the dual characteristics of form and ecology in the contradictory dimensions of space.

禹廷藝術館：本系列作品創作的靈感是源自哪里呢？

林泓君：以【2000】這件作品為例，從媽媽她們這一代人的角度來觀看千禧年產生翻天覆地的變化，“認知重啟”，她們那一輩人腦子里面攢了很多公式、定律、法則，還攢了很多框框，從1994年互聯網進入中國開始，信息的共享、光怪陸離、她們需要在錯綜復雜的世界中去篩選那些倫理上她們認為是正當的，道德上她們認為是善的，價值上她們認為是普惠的、普世的。這個世界熱鬧喧囂，但已不再溫暖親切，在此媽媽的記憶成為我作品建構的體驗。畫面冷漠疏離的藍灰色調，來概括重新認識自然、認識自我、認識世界崩塌重構的過程。

Q: where is the inspiration of this series of works?

Lin Hongjun: Taking the work of [2000] as an example, From the perspective of my mother and her generation, we can see the great changes of the millennium,which called cognitive restart. Since the Internet entered China in 1994,They need to sift through the complicated world which they think is right ethically, good morally, and inclusive and universal in value.It's a strange, collapsing and reconstructing, a little indifferent blue and gray. The world is noisy, but it's no longer warm and kind. Here, my mother's memory becomes the experience of the construction of my work.

禹廷藝術館：你提到媽媽的“記憶”，又是如何展現的呢？

林泓君：在普魯斯特的《追憶似水年華》中，他提出了兩種記憶：自愿記憶與非自愿記憶。其中，自愿記憶是圖像的生產，傳達的是事物、事件與經驗的外在面貌;而非自愿記憶則更多是由隨機的、不請自來的、被感知相似性所召喚的記憶，是認知記憶范圍以外的記憶。按照柏拉圖或者亞里士多德的說法，記憶被看作是獲得關于理想世界的神圣知識或者記錄經驗知識的手段。當代關于記憶的預設和理解由客觀化、記憶更混合了相對主義的后現代主義氣質。

在我的【林林】系列作品中，記憶表征體現為認知記憶和情感記憶的混合，試圖把媽媽觸景生情的記憶作為素材、契機和動力在作品中進行情感和想象體驗轉化。

Q: How do you show your mother's "memory"?

Lin: in Proust's reminiscence of the past, he proposed two kinds of memory: voluntary memory and involuntary memory. Among them, voluntary memory is the production of images, conveying the external appearance of things, events and experiences; while involuntary memory is more random, uninvited, and called by perceptual similarity, which is beyond the scope of cognitive memory.

According to Plato or Aristotle, memory is regarded as a means of acquiring sacred knowledge about the ideal world or recording experiential knowledge. The presupposition and understanding of memory in the contemporary era are characterized by objectification, memory and relativism. In my [Lin Lin] series of works, memory representation is a mixture of cognitive memory and emotional memory, trying to use mother's memory as material, opportunity and motivation to transform emotional and imaginative experience in the works.

禹廷藝術館：我們發現你的作品中將“時間-空間”與“作品-人生”這樣超然的元素融合貫穿到一起，這是如何做到的呢？

林泓君：其實【林林】系列對于空間關系的重建、時間觀念的加入，對于觀念邊界的探索來尋找那些特定時代的感覺，也并非是新的語言模式，我只是在已有的模式中作個人化的處理，所以當我們面對一件作品，得知道它的前因后果。而這種個人感覺與那個時代與人的人生體驗有才叫看得懂那一件作品，

一方面，記憶是我作品的來源，是表達和反思的內容。記憶難以界定，但又無處不在，這種感覺你熟悉嗎？我不去想每個標題都會成為時代的烙印，當下我所做作品的只屬于過去，須把它放在一個一定的語境中，才能更好的理解它。這個語境是雙重的，一方面是人的生存處境的變遷，我們的生存環境――包括吃喝拉撒睡的各個方面發生了激烈的變化，另一方面新鮮、刺激永遠是現世涉獵者們不斷追求并熱愛的。于是乎，內心永遠難于平靜，總會陷于潮起潮落。

又或許，在做作品時的我自己都沒能清楚的思緒，回味起來，仍深陷境遇。作品是有靈魂的，它帶著你的氣息和能量，靜下來，讀懂 ，你需要時間。

Q: we find that your works integrate such transcendent elements as "time space" and "work life". How is this done?

Lin: in fact, the reconstruction of spatial relations, the addition of the concept of time, and the exploration of the concept boundary to find the feelings of those specific times in the [Lin Lin Lin] series are not new language models. I just make a personal treatment in the existing model, so when we face a work, we have to know its causes and consequences. And this kind of personal feeling has something to do with the life experience of that era and people, so that we can understand that work.

On the one hand, memory is the source of my works, the content of expression and reflection. Memory is hard to define, but everywhere. Are you familiar with this feeling? I don't think that every title will become the brand of the times. What I do now only belongs to the past. I have to put it in a certain context to better understand it. On the one hand, it is the change of people's living situation,Our living environment, including eating, drinking, sleeping and sleeping, has undergone drastic changes. On the other hand, freshness and excitement are always pursued and loved by the world's dabblers. As a result, the heart is always difficult to calm down, always caught in the ebb and flow.

Or maybe, when I was doing my work, I didn't have a clear idea and I was still in a deep situation. A work has a soul. It carries your breath and energy. You need time to calm down and read it.

整理：禹廷藝術