林植的创作强调“感受”，从拥有记忆开始，环境中信仰的混杂让林植不断地思考要如何认识这个世界。林植的童年记忆集中在父亲任职的小学，小镇上学校挨着基督教堂，拥有尖顶落地花窗的教堂构成了他对“神圣感”的最初记忆，圣歌的旋律伴随着他的童年，而在同一座小镇里，人们对于命理易术的信仰也同时存在，表现为各异信仰的文化特征，逐渐在林植的体感与思考中转向对世界构成的解读——“我越发觉得无论是一个人、一只动物，还是山川草木，一切事物都是一股能量，它们之间或有吸引、或有相斥、或有拉扯。”所以当林植谈到自己的绘画，他强调因为这种不同于“感觉”的“感受”指向，他对于画面中出现的任何一个物像或笔触，总是谨慎地反复琢磨与考量。
Lin Zhi's creation emphasizes "feeling", starting from having memories, and the mixture of beliefs in the environment makes Lin Zhi constantly think about how to understand the world. Lin Zhi's childhood memory is concentrated in the primary school where his father worked. In the small town, the school was next to the Christian Church, and the church with the spire and flore-ceiling window formed his first memory of the "sense of the sacred". The melody of hymns accompanied him in his childhood, and in the same small town, people's belief in numerology also existed, showing the cultural characteristics of different beliefs. Gradually, in the sense of body and thinking of forest planting, I turned to the interpretation of the composition of the world - "I feel more and more that whether it is a person, an animal, or mountains, rivers and trees, everything is a energy, and there is attraction, repulsion, or pull between them." Therefore, when Lin Zhi talks about his paintings, he emphasizes that because of this "feeling" direction, which is different from "feeling", he always carefully mulls and considers any object or brushstroke appearing in the picture.
在泰国多年的生活经历，使得林植有更多的机会深入体验异国土地的风土与人情，甚至可以说，在文化的碰撞与信仰的交融里，泰国是一个更为丰富与复杂的试验场。作为国教的佛教和遍布各处的自然神，与被殖民者带来的基督与天主教，不仅意味着民族文化的碰撞，社会的政治关系也在这里随着文明与信仰的脉流探讨着权力的所归。
Years of living experience in Thailand have given Lin more opportunities to deeply experience the customs and customs of foreign lands. It can even be said that Thailand is a richer and more complex testing ground in the collision of cultures and the integration of beliefs. Buddhism as the state religion and the natural God everywhere, and Christ and Catholicism brought by the colonists, not only mean the collision of national culture, but also the social and political relations here, along with the pulse of civilization and faith, explore the return of power.
对林植的艺术创作来说，异国的宗教并非转化为符号或者元素出现，重要的是那些感知“神”存在的方式——打坐或者冥想让艺术家获得了更加沉浸与纯粹的环境，绘画所需的气质与情绪便也在这个过程中流向画面。
For Lin Zhi's artistic creation, foreign religions are not transformed into symbols or elements. What is important is the way in which the presence of "God" is perceived - meditation or meditation allows the artist to obtain a more immersive and pure environment, and the temperament and emotions needed for painting flow into the picture in this process.
林植的早期绘画，有着巴斯奎特式的张扬与艳丽，东南亚的生活环境与情绪，被揉杂成了落于画布的笔触，浓厚明艳的高纯度色彩，被荧光色的痕迹点缀，颜料在他的画布上被涂抹、刮刻、滴溅、流淌。但林植认为，那个阶段太过鲜艳与喧闹，还不够“耐看”。
Lin Zhih's early paintings have a Basquiat style of flamboyance and flamboyance. The living environment and mood of Southeast Asia are mixed into brushstrokes that fall on the canvas. Thick, bright and high-purity colors are embellished with traces of fluorescent colors. But Lin Zhi believes that that stage is too bright and noisy, not enough "durable".
在2020年回国后，故土的环境被披上了一层陌生化的薄纱，艺术家不得不迈入再认知的过程。加之受困于疫情的特殊体感经历，令其对生活和生命有了更强的控制感缺失，而绘画便成为了林植与这种“失控感”对抗的有力途径。所以在新一阶段的创作中，林植的作品中不见了那些鲜艳的荧光色与张扬的笔触，黑、白、金被平静而克制地运用于画面，情绪性的宣泄大量减少，简洁、质朴与轻松在他的画面中找到了新的平衡。
After returning to China in 2020, the environment of the native land has been covered with a layer of defamiliarization gauze, and the artist has to step into the process of re-cognition. Coupled with the special somosensory experience of being trapped in the epidemic, they have a stronger sense of loss of control over life and life, and painting has become a powerful way for forest planting to fight against this "sense of loss of control". Therefore, in the new stage of his creation, Lin Zhi's works do not have those bright fluorescent colors and bold strokes, black, white and gold are used calmly and restrained in the picture, and the emotional catharsis is greatly reduced, and simplicity, simplicity and ease find a new balance in his pictures.
OC181 169x131cm 布面丙烯 Acrylic on canvas 2023年
OC31 157.5x118cm 布面丙烯 Acrylic on canvas 2020年
OC104 157x117cm 布面丙烯 Acrylic on canvas 2022年
林 植
Lin Zhi
1988年出生于广东汕头，2013-2020年旅居泰国曼谷，现工作生活于广州。林植的绘画多描绘ONE CHILD的形象，承载艺术家对时间与空间的生命感知以及对事物运行规律的探寻，通过对进入画面元素与笔触的控制与摘取，表现社会的多元意志与形态并对信仰的根源进行重塑。林植的作品并不追求准确的答案与肯定的意义，更多给予观者一种生成状态的感受，带来关于纯粹绘画的宁静共鸣。
Lin Zhi was born in Shantou, Guangdong Province in 1988, lived in Bangkok, Thailand from 2013 to 2020, and now lives and works in Guangzhou. Lin Zhi's paintings mostly depict the image of ONE CHILD, carrying the artist's perception of life in time and space and his exploration of the law of the operation of things. Through the control and extraction of elements and brushstrokes entering the picture, he expresses the diverse will and form of society and reshapes the root of belief. Lin Zhi's works do not seek accurate answers and positive meanings, but rather give the viewer a feeling of a generative state, bringing quiet resonance about pure painting.
他的重要个展包括： O/G林植对话展（CASSOULET画廊，香港，2023）；Pocket Flower(BACC艺术历史文化中心，曼谷，2018)；The Crowd（Midnice画廊，曼谷，2018）；ONECHILD（Tempo画廊，纽约，2015）；You know on which side the Thailand is? It is right besides you!（Rebel画廊，曼谷，2015）等。参加重要群展包括：榴莲.榴莲 主题，泛东南亚三年展（广州美院大学城美术馆，广州，2023）；THE SPACE BETWEEN US（当代唐人艺术中心，曼谷，2021）等。林植作品也曾参加北京当代、上海西岸等大型博览会。
His major solo exhibitions include: O/G Lin Zhi Dialogue (CASSOULET Gallery, Hong Kong, 2023); Pocket Flower (BACC Art, History and Culture Center, Bangkok, 2018) ; The Crowd (Midnice Gallery, Bangkok, 2018) ; ONECHILD (Tempo Gallery, New York, 2015) ; You know on which side the Thailand is? It is right besides you! (Rebel Gallery, Bangkok, 2015) , etc. Participating in important group exhibitions include: Durian. Durian, Pan-Southeast Asia Triennale (Guangzhou Academy of Fine Arts, University Town Art Museum, Guangzhou, 2023) ; THE SPACE BETWEEN US (Contemporary Tang Art Center, Bangkok, 2021) , etc. Lin Zhi's works have also participated in large-scale exhibitions such as Beijing Contemporary, Shanghai West Bund and so on.
