藝文專區

『家‧記憶‧藍圖』 林庭立 專訪 ● 你好藝術 Lin Tingli Interview

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  • 2019-07-17 │ 採訪 / 攝影 陳儷云

     

      

    [關於家的記憶藍圖-吻]  藍曬、油彩、綜合媒材、畫布 72.5×53cm 2018 

     

     

    林庭立於2019年6月~7月期間,以『家,記憶,藍圖』創作計畫在新竹市鐵道藝術村短期駐村。

    Lin Tingli painted the Home, memory, blueprint during June and July in 2019 when he was a short-term resident in the Art Site of Railway Warehouse in Hsinchu.

              

    攝影,用光影素描

    就讀清華大學藝術系期間,林庭立拿起相機在生活中取材,因為從家裡找到一台底片相機後,開始涉獵更精準的攝影技術。『底片機和數位相機的差異在於,拍攝的機會有限,必須在一卷底片之內,選擇要對什麼按下快門,當時的光圈大小和快門速度都經過考慮,使得自己更能深刻記得拍攝當下的心情。』對於林庭立而言,攝影就是構圖,透過拍攝光影為眼前的景像做素描。『多年來在新竹生活,發現這個城市變動得很快,每天都有舊房子被推倒,新房子被蓋起來。當我看見那些被剝去外牆的房子,可以看見以前人們在房子裡生活的痕跡,也讓我想起我小時候住的地方。』因為城市正在變化中,讓林庭立開始拿著相機遊走城市,為即將消逝的老屋拍下肖像。同時也引發了他對古蹟的熱愛,同時也從中感受到台灣的文化保存在建築當中,就像他對家的回憶也保留在兒時居住的房子裡頭。

     

     

    Photography: sketching with light and shadows

     

    While studying at the National Tsing Hua University’s Department of Arts, Lin got his inspiration for photographing from ordinary life, having discovered a film camera at home, thus beginning to scratch the surface of photography somewhat deeper.

     

    “The difference between a film camera and a digital camera is the limitation to the roll-size and the choices from there of: the applicable aperture size and the shutter speed, the considerations that make one better recollect the captured frame of mind”. For Lin, photography is composing; creating a sketch from the captured scene of light and shadows.

     

    “Having lived in Hsinchu for years, you can see how the city changes fast as the old houses go under and new arise. I witness these houses which the walls encapsulate: the vestiges of life for the people who once lived in them, and that makes me think about the place where I used to live as a child.” Because of what was happening to the city, Lin began to take walks with his camera in order to take portraits of the old rooms which were becoming evanescent. Whilst doing so, he also developed a liking for monuments by becoming aware of the Taiwanese culture preserved within the structures that made him recollect and preserve the confines of his own childhood room.

     

    以藍圖描繪記憶、彎折時間軸

    『藍曬這個技術是玩攝影的時候上手的,單純因為非常喜歡這種冷冽的藍色,詭異又冷靜。』藍曬技術本身除了成形影像之外,也常用於製作建築規畫圖,『藍圖』象徵著未來,然而林庭立卻以『藍圖』描繪過去,以自我的兒時肖像紀念童年。透過拼貼,形成大面積藍曬,以純熟的繪畫技術將新舊影像相互結合,在畫面中常見他兒時的家庭照,以及成年之後所拍攝到的破敗老屋,同時並存在畫面中,創造出超現實的世界,構圖協調但內容荒誕。『作品當中的兒時照片,每個我都有天真幸福的笑容。童年的我與殘破的房子在一起,紀念著過去,其實也期望著未來。』出生於彰化的林庭立,自中學時期就離家求學,童年與家人相處的時光在他心中始終是最親密與珍貴的記憶。幼時由雙親大量拍攝的照片,象徵著家庭的平靜幸福。18歲那年,因家中經濟劇變,全家人不得不搬離居住多年的房子,開始在一個又一個租屋廣告中找到下一個住所。家,從此成為最渴望也最遙遠的回憶。

     

    『繪畫是一種編造時間的技術,攝影是一種封存時間的方法。』與創作題材一樣,林庭立的創作媒材也與『時間』有關。在時間軸上,他用『過去』的消逝與殘敗象徵『未來』也將到來。不論是文化的累積、科技的演變,乃至每個個人的性格養成,都奠基在已發生的經驗上,因此消逝的並非全然消逝,未來的也非全然尚未到來。在林庭立的創作中,打破了時間的線性走向,過去、未來都凝聚在此刻。

     

    Axis of time revolves around the blueprints of memories

     

    “I got the hang of the cyanotype technique just by photographing, simply because I like the kind of cold blue color which is weird and calm.” In addition to photographing, cyanotype technique is commonly used in building plans where the blueprint envisions the future, unlike in Lin’s case, where it depicts the past memories from the childhood years. A large-scale cyanotype collage is put together in order for this painting technique to combine the old and new images. Pictures from his childhood are often seen in his works, as are the pictures of decayed rooms which he has photographed as an adult. In his tangible works that surpass the worldly reality, the composition is coherent, yet the subject is fantastical. “The childhood pictures in the works each show me smiling happily. The young me co-exists with the old rooms, commemorating the past, but also anticipating the future.”

     

    Born in Changhua County, Lin left home to study in middle school, and to him, the childhood spent together with his family became the most precious and intimate memory. The heaps of pictures taken by his parents testify of the family’s happiness. The year he turned eighteen, due to a sudden economic mishap, the whole family had no choice but to move out of the place they had resided in for years, and to start look for their future life from the apartment rental ads. Home became the most longed for and far-flung memory.

     

    “Painting is a technique for fabricating time where as photographing is a way to capture it”. Similarly to the theme of Lin’s works, his creative medium also concerns time. The decaying past and the evanescent future appear as a timeline. Whether it is the evolution of culture, advances in technology or growing as a person, everything is based on what has happened, and as such, what is about to be gone is not yet fully gone, and what is about to happen has not yet fully happened. In Lin’s creations, the linearity of time is broken, and the past and the future come together in a point of immediate present.

     


     

    [關於家的記憶藍圖-非請勿進] 建案工地象徵新生活即將開始,也隱喻過去已逝。藍曬、油彩、綜合媒材、畫布 72.5×91cm 2019

     

     

     

    走入新竹市鐵道藝術村之後

    擷取一段來自林庭立駐村計畫的敘述,『家是表達自我的地方也是存放記憶的地方,人們透過布置自己的住屋、房間、工作室等,甚至是整理住家附近的環境,這過程中常讓人感受到做自己,透過把環境裝飾成自己想要的模樣,行動的當下心靈也會漸漸認同這個空間是屬於自己的「家」。』從大學到新竹至今已經超過七年,除了彰化小時候的家,新竹是林庭立停留最久的城市,在新竹所留下的回憶、朋友、佈置的生活空間,讓新竹也成為他的家。

     

    自離家求學到現在,林庭立總是搭乘火車返家,來到新竹七年,往返彰化、新竹的鐵路的沿途風景,都讓他歸鄉的記憶,熟悉且有安全感。對他而言,彰化和新竹都是家,坐上火車出發都是回家。而因為鐵軌的聲響,代表著某種穩定的安全感,也是他到新竹市鐵道藝術村駐村的理由之一。駐村期間,林庭立將以藍曬技術,大篇幅的記錄新竹的老屋以及都市更新前的地景,彷彿一種回望過去也展望未來的儀式。

     

    After entering the Art Site of Railway Warehouse´s artist residency in Hsinchu

     

    According to Lin’s artist residency plan, “home represents my own space and also a place where memories are stored. People often arrange their houses, rooms, studios, etc., and even organize the environment near their homes so that they can feel their own existence in the process of restructuring the surroundings to their liking, and by doing so, the instantaneous nature of such movement begins to gradually identify the space as being a part of their home.”

     

    From the university to the present time in Hsinchu, it has been more than seven years, and apart from his childhood home in Changhua, Hsinchu is the longest lasting stop-over city for Lin. The remaining memories, friends and living spaces in Hsinchu have made the city his home.

     

    Ever since leaving home to study, Lin has always taken the train back. Now, having been in Hsinchu for seven years, the scenery along the Hsinchu railway line which goes to Changhua has come to remind him of returning to the safety and comfort of home. To him, Changhua and Hsinchu both are homes, and come the time for being seated and for the train to depart, both ways lead to home. The sound of the railroad track represents a certain kind of stability that is also one of the reasons Lin is in the Art Site of Railway Warehouse´s artist residency in Hsinchu. During the residency, Lin will use the cyanotype technique to record the scenery together with the old houses in Hsinchu before the urban renewal takes hold. It acts as a ceremonial glimpse from the past, and as a gaze into the future.

     

     

    [關於家的記憶藍圖-太原第] 兒時家庭照片與新竹太原第拆除工地相互拼貼,在扭曲時間軸中交疊記憶。藍曬、油彩、綜合媒材、畫布 91.5×130cm 2018

     

     

     

     

    關於林庭立

    1994生,國立清華大學藝術與設計學系創作組畢,目前就讀碩士班

     

    駐村

    2019 第一屆新竹市鐵道藝術村短期駐村藝術家

     

    展覽

    2019「 關於家的記憶藍圖—林庭立個展」,旺宏館總圖書館,新竹,台灣

    2019「跨域—OLED與藝術的對話」,竹師藝術空間二館,新竹,台灣

    2019「桃城美展」,嘉義市文化局,嘉義,台灣

    2018 「家 1994—林庭立個展」,澤空間,新竹,台灣

    2018 「薩拉曼卡國際繪畫交流展」,ZINK 新興藝術空間,西班牙

    2018 「國立清華大學藝設碩士班評圖展」,竹師藝術空間,新竹,台灣

    2018 「新竹美展」,新竹縣文化局,新竹,台灣

    2018 「玉山美術獎」,南投縣文化局,南投,台灣

    2018 「國立清華大學美術創作大獎」,竹師藝術空間,新竹,台灣

    2017 「台日繪畫交流展」,佐籐美術館,東京,日本

    2017 「國立清華大學美術創作大獎」,竹師藝術空間,新竹,台灣

     

    獲獎 

    2019「藝術銀行108年度作品購入計畫,典藏」

    2019「入選108年度台灣美術新貌獎」

    2019「入圍108年度璞玉發光-全過藝術行銷活動」

    2019 「新竹美展 油畫類,入選」

    2019 「桃城美展 油畫類,入選」

    2018 「107年度國立清華大學藝術與設計學系學生及校友優秀作品典藏」

    2018 「國立清華大學美術創作大獎碩士班組,優選」

    2018 「新竹美展 油畫類,入選」

    2018 「玉山美術獎 油畫類,入選」

    2017 「106年度國立清華大學藝術與設計學系學生及校友優秀作品典藏」

    2017 「國立清華大學美術創作大獎碩士班組,優選」

    2017 「新竹美展油畫類,入選」