目次 Contents
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一段似曾相識的夢境與行旅— 談林煒翔的「風景繪畫」 文／李政勇
A Journey, a Dream, a Déjà Vu: An Essay on LIN Wei-Hsiang’s “Landscape Paintings”
Andre LEE
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作品圖版 Plates
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藝術家簡介 About the Artist
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一段似曾相識的夢境與行旅— 談林煒翔的「 風景繪畫 」
文／李政勇
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世界上有什麼不會失去的東西嗎？ 我相信有，你最好也相信。 — 村上春樹
閱讀村上春樹（Haruki Murakami, 1949–）的文學，雖然已是 25 年前的事，但 上面的這段引言，始終不曾真正離開我的記憶。它像是一段要自己相信人性 和這個世界的提醒，而這種提醒往往也出現在我觀看畫家林煒翔作品時的感 受，那些畫面中散發的清澈、透明與純淨，回應了村上春樹這段文字裡對某 些人性價值和簡單真理的信仰。於是，林煒翔和村上春樹對我來說，似乎形 成一種隱隱的聯繫，「聽風的歌」這個借自村上春樹首篇小說的展覽標題， 順理成章的對應出林煒翔畫作中那些由山林雲霧所吹送與唱和的風之歌。
這首由大自然譜成的樂曲，伴隨著風的氣息與流動，在高山、草原、溪谷、 森林、田野和小樹之間來回穿梭與迴盪，它們反映出林煒翔對於自然的深入 觀察與親密情感，其中有大自然的深邃奧秘，亦有人文風景的溫潤厚實。常 常，在觀看這些畫作時，我能感受到畫家林煒翔時而像他畫中的小樹般專注 挺立於天地，時而又如其筆下的風和雲那樣的自由飄蕩，不論是靜止的山石 樹木或是流動的風雲氣霧，自然風景成了他自畫像般的最佳寫照。對畫家而 言，大自然既為他身心嚮往的倘佯之處，亦是他藝術追尋裡的心靈原鄉，是 一座取之不盡、用之不竭的無盡寶藏。
大自然也不只是林煒翔創作的取材對象和靈感來源，他筆下的山林大地彷彿 他的原生家園，刻劃了他深深的情感和無止盡的鄉愁。風景在他的筆下，既 非傳統山水的圖式，亦非西方風景畫面的空間構成，林煒翔以他長年行旅自 然和遊走山水的視覺觀察與身體經驗，先是對風景元素進行拆解轉化，再以 他兼融山水美學的養分與西方寫生的經驗，於畫布上以油彩描繪與薄染出一 番匯聚東西藝術精粹的獨特風貌。在他的藝術語言和美學形式中，儘管仍有 來自學院養成的寫實觀察，但更加關鍵地卻是他長年親炙大自然所體悟和琢 磨的生命之道，以及回到畫室後用個人主觀與想像所疊加的寫意表現。
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物質稀釋後的精神性強化
林煒翔這種將寫意置於寫實技法之上的表現，為他的繪畫經營出一種隱約的 象徵性格。這種象徵性，不僅築基於畫面的朦朧之美和夢境般的飄浮感受， 也出自他多年來習慣把顏料的物質性稀釋後，經年累月在筆觸、空白、縫隙 和層次之間所融合出的一種多元關係，這種關係非常接近他在訪談中曾提 及的某種曖昧與開放性：「我蠻喜歡一種不是那麼確定的狀態，有點像詩。 詩句和詩句之間，有很多想像空間。一句詩句跟接下去的詩句，未必在邏 輯上可以接得起來。兩段詩句靠在一起，它們中間的縫隙，始終令我感到 著迷。詩的字詞，以及字句和字句間，好像存在著各種可能。在閱讀一首詩 的當下，人們所感受到的空間範圍、大小、距離和狀態，不一定是相同的。 這些不同的感受，或許就是詩意， 某種說不清楚卻又讓人想進一步去 探尋的神祕之美。它們可能藏身在 詩中、繪畫上、電影裡，或者夢境 深處。詩、繪畫、電影和夢境，我 認為是相同的東西……」而林煒翔 的這種說法，亦解釋了我為何會在 他 的《遊 蹤 ( 四 十 三 )》的 作 品 局 部 中 聯 想 起 馬 格 利 特（Rene Magritte,
1898–1967）。 詩、 繪 畫、 夢 境 這 些超現實主義追求的核心狀態與形 式，或許在潛意識裡早已對他扮演
遊蹤（四十三）
了不為人熟知的關鍵作用。
局部 Detail
Traces of Travel (43)
前述這種關於縫隙和開放性特質的認知，與林煒翔浸淫於大自然和作畫過程 的緩慢狀態，形成一種非常有趣的感知對話。他用極長的時間把身心沉浸於 自然世界裡，這種過程和耽溺，不只在他自然風景裡的漫漫行旅，也在他作 畫過程裡畫筆堆疊下的冗長時光。緩慢、留白與縫隙，成為林煒翔的生命與 藝術的幾個關鍵字。林煒翔也曾經和我提到法文裡的「漫遊者」(Flaneur) 這 個伴隨印象派發展的字詞，這應該是他「晃遊」系列的緣起，但是對我來說 林煒翔的「晃遊」與印象派藝術家的「閒晃」仍是相當不同，印象派的「閒
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晃」夾帶著悠閒的心情與獵奇的心態，用接近照相取景的畫面捕捉下巴黎花 都的自然和人文景觀，而林煒翔的漫遊則更著重於個人無目的性的與自然對 話或體驗，把我們帶入自然當中，就人與自然的協調關係來說，林煒翔的 精神狀態和畫作個性都更趨近於浪漫主義的鄉愁或是象徵主義的萬物照應
(Correspondence)。
時間存留的痕跡與勞動的儀式性
興許是這種浪漫情懷，林煒翔的藝術追求往往是過程重於結果。在他夢境般 的畫面底下，潛藏著他作畫過程中無數反覆的描繪與擦拭，而這種外人看似 徒勞的工作對他卻具有一種繪畫本質的儀式性意義，也呼應著他的工作節奏 和作品的最終成果：「……在筆觸畫上去之後，我會拿抹布或者別的筆刷再 把畫上去的筆觸擦拭、去掉、減去，甚至用大筆重新刷過一遍，讓本來比較 明確的筆痕變得模糊甚至消逝。但是這個去掉、擦拭、抹去的過程未必能夠 把所有的痕跡都帶走，還是會留下一些本來加諸上去的色彩和筆觸，還會留 下一些殘影和殘跡。加了，再抹去，再擦拭，再加，再擦拭、抹去，我很喜 歡這樣反反覆覆的工作狀態……」
正是這般的生命節奏和創作過程的緩慢，為林煒翔的繪畫刻下一道時間存留 的痕跡與勞動的儀式性。透過長時間的描繪，他讓油彩、筆觸堆疊交錯出精 神性與時間性，作品《荒原》將此狀態展露的最是明顯。這件尺度迷你之作， 起初是畫家用來塗抹油彩與調合混色的一片木板，經過長時間的堆疊後累積 出厚實的紋理，並且慢慢地形塑出一面由時間與記憶所交疊的荒原，投射出 林煒翔在繪畫過程中多年的勞動痕跡與情感記憶，也凸顯他創作裡隱含的另 一種儀式性與精神性。這般在繪畫中營造的勞動性與精神性對比，以及畫 面散發的多元層次與清澈空氣，令人想起當代寫實繪畫大家羅培茲 (Antonio
López García, 1936–)，只是羅培茲的繪畫採取了寫實與寫生方式，而林煒翔 用的則是融合觀察後的寫意方法。兩人方法儘管不同，對於自然或描繪對象 的長時間觀察與凝視，卻相當接近地把我們帶入了畫家在畫布上所建構的宇 宙時空。
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輕柔淡薄的夢境 VS. 深邃厚實的心景 繪畫作為最古老的創作之一，在經歷過漫長的發展後，究竟還有什麼樣的可 能性 ? 這個問題對東西方的當代繪畫皆是極大的挑戰，也是所有真正的畫家 在創作中不斷思考和希望超越的永恆課題。就林煒翔過去十多年的創作脈絡 來看，他的繪畫先是從寫生方式展開，繼而在構圖與筆法上融入大量山水美 學，近年則是更具自信地將水墨養分、個人長時間的自然觀察和空間感知， 以主觀的想像或夢境般的調合方式融成一體，畫出他個人語彙日漸成熟的 「心靈風景」。這樣的繪畫，儘管有傳統山水與西方風景畫的啟蒙，但最後的 視覺語言和精神樣貌早已別於山水畫與風景畫的基因，而是一座充滿馨香、 風聲、溫度與濕度…等多重感官聯覺共振的林煒翔式「風景繪畫」。
這樣的「風景繪畫」，有似曾相識的輕柔夢境，亦有畫家自始至終孜孜追求 的那一份淡薄而厚實的心靈風景。它們的獨特在於林煒翔把風景當成自畫像 般地深刻處理，也在於它充滿東方美學的氣韻下，卻是以油畫媒材與技法所 創造的。儘管林煒翔認為他的油畫在本質上更接近於水墨，但就我的觀察， 林煒翔的作品和西方油畫或東方水墨其實都有一段距離，就美學和氣質上它 們靠近東方一些，但中國藝術裡的山水與園林所建構的自然世界和人的關 係，並不適用林煒翔作品裡的自然觀點，而西方繪畫的風景空間對他亦不太 貼切。也或許是這樣的距離，讓林煒翔的「風景繪畫」產生一種獨特的想像， 成了畫家與你我共同走進的一段似曾相識的夢境與行旅…
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A Journey, a Dream, a Déjà Vu: An Essay on LIN Wei-Hsiang’s “Landscape Paintings”
Andre LEE
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Is there anything in this world that can’t be lost? I believe there is. You should too. — Haruki Murakami
It has been 25 years since I last read a book by Japanese novelist Haruki Murakami, but this quote has always been fresh in my memory. It serves as a reminder that I should believe in this world and the humanity in it. Seeing LIN Wei-Hsiang’s artworks often brings similar feelings. His clear and pure color palettes quietly parallel the simplicity in Murakami’s writing as well as the belief in humanity and simple truth. Taking inspiration from Murakami’s first ever novel “Hear the Wind Sing”, LIN Wei-Hsiang’s latest exhibition is named “Voices of the Wind”. The collection of paintings come together to present a song of the wind composed by the mountains, forests, mists and clouds. The tune, composed by elements of nature, floats along the wind and lingers in the mountains, over the grasslands and fields, and reverberates in the ravines and among the trees. These elements in Lin’s paintings reflect his careful observation and close connection with nature. His paintings reveal the profound nuances of nature while showing a warm human touch on landscapes. Lin’s presence can be felt in all of his paintings: he is the small tree standing between sky and earth, he is also the wind and clouds that float freely. Whether he paints still trees and rocks or moving clouds and mist, the natural scenery flowing from underneath Lin’s brush ultimately ends up being a kind of self-portrait. For him, nature is where his mind and soul feel the most at ease, where his spiritual home is, and where he seeks endless inspiration. The forest and earth in Lin’s paintings come together and serve as a vessel through which he expresses profound emotions and boundless nostalgia. He doesn’t strictly adhere to the traditional Chinese style, nor does he apply the western rule of perspective. Instead, he deconstructs elements of landscape after years of immersion in and close observation of nature. He then blends his aesthetics with techniques of both Chinese ink wash and western painting to create oil paintings with unique qualities.
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Although Lin’s work still shows traces of realism from his formal training, his aesthetics and artistic language is mostly built on the fusion between his perspective on the external landscape and the internal pondering of life.
The dilution of the physical and the enhancing of the spiritual Lin favors painting in a free-handedly over the pursuit of realism. This allows him to infuse a faint element of metaphor in his paintings. Such metaphor is not simply established in the vague beauty and the weightless dreamscape of his paintings, it is more so rooted in the relations between his use of diluted paint, the brushstrokes, the negative spaces and the layers on canvas. This relation is quite close to the ambiguous and open nature of his paintings that Lin talked about in a recent interview, “I like the state of uncertainty. It is a bit like poetry where the spaces between sentences leave a lot of room for imagination. Two consecutive sentences in a poem might not be connected on a logical level. However, I’m fascinated by that gap between them and what it could mean. This gap opens up many interpretations for the words, sentences, and pauses in the poem. When diving into a poem, each person would experience a different state of mind and each would feel differently about the spaces and distances in that world. These different feelings could be the essence of poetry. It is a sense of mystery that’s difficult to grasp but, at the same time, entices readers to explore further. Such beauty exists in poetry, paintings, movies, or in dreams. At a certain level, I think these mediums are all the same…” Lin’s perspective explains why certain parts of his painting “Traces of Travel (43)” remind me of the work of Belgian surrealist René Magritte. Poetry, paintings and dreams are all common mediums for surrealist artists, and focusing on these unknown realms might have had a key effect on Lin’s subconsciousness. The aforementioned poetic gaps and open nature of Lin’s paintings form an interesting dialogue with his nonchalant exploration in nature and painting process. He often spends an extremely long period of time to completely immerse his body and spirit in nature. This slow pace carries over into his painting where he tirelessly adds layers
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upon layers of oil paint on canvas. “Slow-paced”, “negative spaces” and “gaps” are the key words associated with his art and lifestyle. Lin once mentioned the word “flâneur” in our conversation. Referring to a man who walks in a relaxed manner and observes society, the French word was popularized along with the development of impressionism, and it is possibly the inspiration behind Lin’s “Stroll” series. To me, however, the idea behind “Stroll” is still quite different from the sauntering of impressionist artists. The latter implies a sense of relaxation and voyeuristic curiosity, a manner with which impressionist painters captured the natural scenery and human moments in Paris in an almost photographic manner. Lin’s strolling is more personal and much less intentional. These qualities also characterize his experience in and dialogue with nature. His work shows a harmonious relation between man and nature. This shows that Lin’s state of mind and artwork are more connected to the sense of nostalgia in romanticism or correspondence in symbolism.
The traces of time and the ritualistic nature of labor Perhaps it is due to his romanticist nature, Lin puts more emphasis on the creative process over the final results. Beneath his dreamlike landscape, lie the countless brush strokes and layers of paint — the marks of his incessant adjustments. Such effort, which could appear futile to outsiders, is a ritual to Lin. It speaks volumes about his pace, process and final work. Moreover, it brings him closer to the core essence of painting, as Lin once said, “...after applying brushstrokes, I often rub the canvas with cloth to smear the paint or to wipe it off. Alternatively, I’d apply new coat of paint with a large brush to obscure the earlier brush strokes. But the act of wiping doesn’t necessarily erase everything. It leaves some traces of the brushstrokes, including shades and colors. I apply paint on canvas, brush it, wipe it, then I apply some more, brush it, and wipe it again. I like my state of mind when the process repeats over and over. ” Lin’s slow-paced painting process mirrors the rhythm of life as he sees it. During prolonged painting, oil paint and brushstrokes collide and layer on top of one another, creating a sense of time and spirituality. It also adds a ritualistic element to his work.
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Such unique qualities are evident in “The Waste Land”. The painting is miniature in size compared to his other artworks, because it started as a piece of wooden board that he used to mix paint. The paint mixture, a “waste”, accumulates on the board over time. Its texture thickens, and it gradually turns into a wasteland of time and memory that encapsulates the years of labor and emotions that Lin puts into his craft, and transcends his work with spiritual and ritualistic qualities. Such qualities, as well as the multi-layered textures and the sense of air and space, reminds me of the paintings of Antonio López García. Garcia leans towards realism whereas Lin combines observation of the real world with free-handed painting. Despite the differences, both artists fix their prolonged gaze on nature, and both bring us into the world on their canvas, into their own time and space.
Light, ethereal dreamscape vs profound and dense mindscape As one of the oldest artistic mediums, what more possibilities does painting still have after centuries of development? Breaking new barriers in painting is an enormous challenge, one that painters from both the east and the west constantly tackle. LIN Wei-Hsiang’s art has evolved tremendously in the past ten plus years: he began by painting still life subjects. And over time, he shifts towards nature and landscape. In recent years, Lin has grown more confident and implemented elements from Chinese ink wash paintings and his own observation of nature and space into his work. As his imagination and dreams form an increasingly integral part of his work and painting process, Lin is able to fuse these subjective elements into his own “Mindscape Paintings”. Although he was inspired by both traditional Chinese ink wash and western oil paintings, Lin’s own aesthetics and visual languages have evolved beyond both disciplines and morphed into his own style where the warmth, moisture, wind and fragrance of nature are all conveyed through his “landscape paintings”. Lin’s “landscape paintings” encompass a myriad of sceneries. Some resemble dreamscapes and evoke a sense of déjà vu, others are reflections of Lin’s ideal mindscape, a profound space where he can roam freely. All the landscapes are ultimately renderings
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of Lin’s self-image, a kind of eastern spirituality expressed through western mediums. Though Lin himself believes his work is closer to traditional Chinese ink wash paintings, I believe his work has departed from both ink wash and western paintings. From an aesthetics perspective, Lin’s paintings are indeed closer to eastern art. However, the relations between men and nature commonly seen in Chinese liberati paintings and garden architecture is not the same as Lin’s perspective of nature. The perspective in western paintings does not apply to his work either. The distance from both major disciplines is perhaps why Lin’s “landscape paintings” evoke an imagined space where the artist brings us along on a journey, a dream, a déjà vu...
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獨不孤（七）Alone But Not Lonely (7) ｜ 2020 ｜油彩、畫布 Oil on canvas ｜ 33 × 24 cm
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獨不孤（三）Alone But Not Lonely (3) ｜ 2009–2020 ｜油彩、畫布 Oil on canvas ｜ 33 × 24 cm
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相伴 Side by Side ｜ 2020 ｜油彩、畫布 Oil on canvas ｜ 53 × 73 cm
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秘境 Secret Tranquil Place ｜ 2020 ｜油彩、木板 Oil on board ｜ 45 × 33.5 cm
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煙波 Misty Waves ｜ 2020 ｜油彩、畫布 Oil on canvas ｜ 130 × 487 cm
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煙波 Misty Waves ｜局部 Detail
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遊蹤（四十三）Traces of Travel (43) ｜ 2020 ｜油彩、畫布 Oil on canvas ｜ 98 × 200 cm
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小樹知道（六）Sapling Understood (6) ｜ 2014–2020 ｜油彩、畫板 Oil on drawing board ｜ 30.5 × 30.5 cm
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雲起 Rising Clouds ｜ 2020 ｜油彩、畫布 Oil on canvas ｜ 162 × 391 cm
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雲起 Rising Clouds ｜局部 Detail
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心景（六）Reflection of the Heart (6) ｜ 2020 ｜油彩、畫布 Oil on canvas ｜ 116.5 × 91 cm
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心景（六）Reflection of the Heart (6) ｜局部 Detail
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一方幽靜 A Place of Seclusion ｜ 2020 ｜油彩、畫布 Oil on canvas ｜ 50 × 50 cm
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心景（三）Reflection of the Heart (3) ｜ 2020 ｜油彩、畫布 Oil on canvas ｜ 91 × 116.5 cm
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心景（七）Reflection of the Heart (7) ｜ 2020 ｜油彩、畫布 Oil on canvas ｜ 116.5 × 91 cm
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心景（七）Reflection of the Heart (7) ｜局部 Detail
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荒原 The Waste Land ｜ 2020 ｜油彩、木板 Oil on board ｜ 23.5 × 22.5 cm
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獨不孤（五）Alone But Not Lonely (5) ｜ 2009–2020 ｜油彩、畫布 Oil on canvas ｜ 33 × 24 cm
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獨不孤（六）Alone But Not Lonely (6) ｜ 2009–2020 ｜油彩、畫布 Oil on canvas ｜ 33 × 24 cm
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獨不孤（四）Alone But Not Lonely (4) ｜ 2009–2020 ｜油彩、畫布 Oil on canvas ｜ 33 × 24 cm
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林煒翔
長年生活於山林之間，以油彩鋪陳出可供心靈徜徉的山林之境，是 林煒翔一貫的堅持。稱之為風景也好，類比為山水亦佳，林煒翔的 繪畫以無數層輕薄色彩的罩染、堆疊與鋪陳，一筆一筆開展出飽含 呼吸律動，雋永而靜謐的純粹之境。對林煒翔而言，鄉愁並非對於 此生故鄉的眷戀，而是關於心靈原鄉的追尋。那是藝術家未曾到 過、無從證明其存在的地方，他說：「十幾年來，我的繪畫主題從 來就只有一個，就是追尋心靈的原鄉。」 在 2018 年「未完的鄉愁」與 2020 年「聽風的歌」的兩次個展中，林 煒翔藉由新、舊作並陳，呈現他這一路來的追尋，其間他曾遇到新的 風景、獲致新的領悟，有時也會面臨新的挑戰、看見不一樣的限制， 從而自每個踏實的步伐、每次的突破跨越，獲致豐沛的心靈能量。 近年來，林煒翔的創作愈趨脫離實景的描繪而傾於抽象，並且藉由 想像的風景傳達精神性的嚮往與追尋。偶而，他也在畫面中綴以現 實景象，提醒我們這一切的追求仍然立基於現實的生命體驗。如同 我們許多人，林煒翔在塵囂之中匍匐前進，於寒暑之間安頓身心， 他欣然接受生命的試煉，輾轉追尋心靈的美好境界，那堅定的信念 凝聚成厚實的力量，層層薄塗罩染為動人的山景雲影，寧靜之中蘊 含著自然的律動與時間的流轉，密實卻顯得柔軟輕盈，或許就像藝 術家心之所繫的心靈原鄉，因包容萬物而豐厚，因美好純粹而雋永。
（郭怡孜）
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LIN Wei-Hsiang
Dwelling in the mountains, it has always been LIN Wei-Hsiang’s goal to create the realm where the mind and spirit can settle and sublimate. May it be called landscape or shan shui, Lin’s painting reveals a tranquil realm of pure beauty built up with countless layers of dyeing. There is a yearning of Lin’s affections for the mountains, water, trees and clouds, amongst which his body and mind is laid-back and settled. For Lin, nostalgia is not for his birthplace, but for the origin of the soul, where he has never been to and cannot prove its existence. Once he said, “For over a decade, there is only a single theme in my practice: that is to search the origin of the soul.” Presenting past and recent works simultaneously, “Nostalgia Unsettled” (2018) and “Voices of the Wind” (2020) have revealed the course of Lin’s pursuit, during which he has come across new landscapes, new understandings, encountered new challenges and limitations. Lin cherishes all the experiences for each breakthrough transcends him to a higher level of inner energy. Recently, Lin’s work gradually departs from realistic depiction to abstraction. Spiritual yearning and pursuit are expressed through Imagined landscapes. Occasionally, landmarks from the real world would appear in his landscapes, reminding us that however metaphysical the pursuit may seem, it is still rooted in the real-life experience. Like many of us, Lin strives towards his goal through life’s ups and downs, attempting to settle his body and mind in the summer heat and winter coldness. He takes challenges with a good grace, devoted to find the ultimate state of beauty and pureness. Brilliant energy generated from his faith and is turned into heart-touching landscapes of mountains and trees, of water and clouds. Here nature breathes calmly and time flows tranquilly, perhaps just like the origin of the soul that the artist yearns for, full of vitality and everlasting pureness. Isabelle KUO
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林煒翔 1983
生於新竹，現居新竹
學歷
2009 2005
國立新竹教育大學美勞教育研究所碩士，新竹，台灣 國立新竹師範學院美勞教育學系學士，新竹，台灣
個展
2020 「聽風的歌」，安卓藝術，台北，台灣 2018 「山之音」，亞典藝術空間，台北，台灣 「未完的鄉愁」，安卓藝術，台北，台灣 「浮世」，非畫廊，台北，台灣
2016 「對景觀心」，尊彩藝術中心，台北，台灣 「心景」，竹師藝術空間，新竹，台灣
2015 2014 2013 2009
「山水有真實」，弔詭畫廊，高雄，台灣 「流動的寧靜」，㮣藝術，台北，台灣 「在畫裡聽見風聲」，弔詭畫廊，高雄，台灣 「緩緩行」，二十號倉庫，台中，台灣 「慢板」，新竹教育大學，新竹，台灣
2008 「慢板」，中國科技大學藝文中心，新竹，台灣 2007 「林煒翔個展」新竹教育大學，新竹，台灣 「永恆」，金禧美術，台中，台灣
2005 「凝視的詩意與存在」，新竹師範學院，新竹，台灣 2004 「林煒翔個展」，金變堂藝術空間，新竹，台灣 2002 「單純與暗喻」，新竹師範學院，新竹，台灣 聯展
2021 2018 2017 2016
「近山：何以為界」，毓繡美術館，南投，台灣 「與自然對話」，安卓藝術，台北，台灣 「藝鳴清華－ 2017 國立清華大學藝術與設計學系教授聯展」，竹師藝術空間，新竹，台灣 「我．再新竹－當代新銳藝術展」，新竹市美術館，新竹，台灣 「林中路當代藝術展．上篇」，安卓藝術，台北，台灣 「地方－ 2016 朱銘美術館典藏特展」，朱銘美術館，台北，台灣
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2015 「存在－意識」，尊彩藝術中心，台北，台灣 「閱讀藝術 II －夏祭聯展」，尊彩藝術中心，台北，台灣 「現代台灣的藝象－台灣藝術家聯展」，銀座幸伸畫廊，東京，日本
2014 「變奏風景」，臻品藝術中心，台中，台灣 「蘋果核－當代藝術聯展」，尊彩藝術中心，台北，台灣 「島」，一票人票畫空間，台北，台灣
2013 「紙上作品」，臻品藝術中心，台中，台灣 2012 「人．獸．風景－黃海欣、林彥瑋、林煒翔三人繪畫展」，誠品畫廊，台北，台灣 2010 「後青春」，國立台灣美術館，台中；關渡美術館，台北，台灣 博覽會
2020 2019 2009 2007 2006
「2020 台北當代藝術博覽會」，安卓藝術展位，台北，台灣 「菲律賓藝術博覽會」，安卓藝術展位，馬卡蒂，菲律賓 「台北國際藝術博覽會」，世界貿易中心，台北，台灣 「台北國際藝術博覽會」，世界貿易中心，台北，台灣 「台北國際藝術博覽會」，華山文化園區，台北，台灣
獲獎
2005
李澤藩教授藝術創作獎
收藏
2021 2015 2013 2009 2004 2002
毓繡美術館 台灣藝術銀行 台灣藝術銀行 國立台灣美術館 國立台灣美術館 交通大學藝文中心
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LIN Wei-Hsiang 1983 Born in Hsinchu, Taiwan
Currently lives and works in Hsinchu
Education 2009 MFA, Graduate Institute of Fine Arts and Crafts Education, National Hsinchu University of Education, Hsinchu, Taiwan 2005 BAE, Department of Fine Arts and Crafts Education, National Hsinchu Teachers College, Hsinchu, Taiwan Solo Exhibition 2020 Voices of the Winds, Mind Set Art Center, Taipei, Taiwan 2018 Sound of the Mountain, Artland Art Space, Taipei, Taiwan
Nostalgia Unsettled, Mind Set Art Center, Taipei, Taiwan
Floating World, Beyond Gallery, Taipei, Taiwan
2016 Reflecting the Heart Through Landscape, Liang Gallery, Taipei, Taiwan
Reflection of the Heart, NHCUE Art Space, Hsinchu, Taiwan
2015 Reality in the Landscape, Crane Gallery, Kaohsiung, Taiwan 2014 Flowing Serenity, Gai Art, Taipei, Taiwan 2013 Seeing the Stroll of Wind, Crane Gallery, Kaohsiung, Taiwan 2009 Stroll, Stock20, Taichung, Taiwan
Adagio, National Hsinchu University of Education, Hsinchu, Taiwan
2008 Adagio, China University of Technology Art Center, Hsinchu, Taiwan 2007 LIN Wei-Hsiang Solo Exhibition, National Hsinchu University of Education, Hsinchu, Taiwan
Eternity, Arthis Fine Art, Taichung, Taiwan
2005 Poetry and Existence of the Gaze, National Hsinchu Teachers College, Hsinchu, Taiwan 2004 LIN Wei-Hsiang Solo Exhibition, Jin-bien-tang Art Space, Hsinchu, Taiwan 2002 Simple and Metaphor, National Hsinchu Teachers College, Hsinchu, Taiwan Group Exhibition 2021 Immersing in Mountains Dissolving the Boundaries, Yu-Hsiu Museum of Art, Nantou, Taiwan 2018 Dialogue with the Nature, Mind Set Art Center, Taipei, Taiwan 2017 Art Tweets – A Group Exhibition presented by Professors of Department of Arts and Design, National Tsing Hua University, NHCUE Art Space, Hsinchu, Taiwan 2016 Representing the City: Hsinchu – Contemporary Art Exhibition, Hsinchu City Art Gallery, Hsinchu, Taiwan
The Road Not Taken Ch.1, Mind Set Art Center, Taipei, Taiwan
A Place of One's Own – 2016 Exhibition of Juming Museum Collection, Juming Museum, Taipei, Taiwan
2015 Reality – Testing, Liang Gallery, Taipei, Taiwan
Art in the Library II – Summer Festival Exhibition, Liang Gallery, Taipei, Taiwan
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Art Contemporaneity Taiwan, Ginza Kousin Gallery, Tokyo, Japan
2014 Variation of Landscape, Galerie Pierre, Taichung, Taiwan
Apple Core – Contemporary Art Exhibition, Liang Gallery, Taipei, Taiwan
The Island, Piaopiao Gallery, Taipei, Taiwan
2013 On the Paper, Galerie Pierre, Taichung, Taiwan 2012 Man Animal Landscape: Hai-Hsin HUANG, LIN Yen Wei, and LIN Wei-Hsiang, Eslite Gallery, Taipei, Taiwan 2010 Post-Adolescence, National Taiwan Museum of Fine Arts, Taichung / Kuandu Museum of Fine Arts, Taipei, Taiwan Art Fair 2020 Taipei Dangdai 2020, Mind Set Art Center booth, Taipei, Taiwan 2019 Art Fair Philippines, Mind Set Art Center booth, The Link Ayala Center, Makati, Philippines 2009 Art Taipei 2009, World Trade Center, Taipei, Taiwan 2007 Art Taipei 2007, World Trade Center, Taipei, Taiwan 2006 Art Taipei 2006, Huashan Culture Park, Taipei, Taiwan Award 2005 Professor Tze-Fan LEE Creative Award, Winner, Hsinchu, Taiwan Collection 2021 Yu-Hsiu Museum of Art 2015 Taiwan Art Bank, Taichung, Taiwan 2013 Taiwan Art Bank, Taichung, Taiwan 2009 National Taiwan Museum of Fine Arts, Taichung, Taiwan 2004 National Taiwan Museum of Fine Arts, Taichung, Taiwan 2002 National Chiao Tung University Arts Center, Hsinchu, Taiwan
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作
者
林煒翔
主
編
李政勇
校
訂
郭朝淵、朱倢瑢
設
計
林冠名
翻
譯
陳之熙、郭怡孜、朱倢瑢
發 行 人
李政勇
發 行 處
安卓藝術股份有限公司
印
刷
崎威彩藝有限公司
定
價
新台幣 800 元
出版日期
中華民國 110 年 9 月
版權所有，未經許可不得刊印或轉載
Author LIN Wei-Hsiang Editor Andre LEE Proofreader Dean KUO, Queena CHU Designer Guan-Ming LIN Translator Zhixi “Jack” CHEN, Isabelle KUO, Queena CHU
Publisher Andre LEE Mind Set Art Center Printed by Kiwi Printing Co., Ltd. Price NTD 800 Printed in Taiwan, September 2021. Copyright © 2021 Mind Set Art Center. All images © of the artist. All essays © of the authors. All rights reserved.
國家圖書館出版品預行編目(CIP) 資料
106 台北市大安區和平東路一段 180 號 7 樓 7F., No.180, Sec.1, Heping E. Rd., Da’an Dist., Taipei City 106, Taiwan tel: +886-2-23656008 ｜ www.art-msac.com ｜ info@art-msac.com
聽風的歌 : 林煒翔 = Voices of the wind : Lin Wei-Hsiang/ 林煒翔作. -- 臺北市 : 安卓藝術股份有限公司, 民110.09 72 面 ; 22.5×22.5 公分
ISBN 978-986-98820-4-0( 平裝) 1. 油畫 2. 畫冊 948.5
110013992