珀德畫廊在《記憶的余溫》展覽期間邀請參展藝術家對談，旨在通過與藝術家的對話溝通，記錄呈現藝術家創作歷程的探索思考，分享傳達藝術家的創作理念及其創作系統，為觀者觀看作品、了解藝術家帶來更生動多維的視角。

本次訪談我們邀請藝術家林怡，探尋她作品背后的故事與思考，讓我們得以走進和理解潛藏在畫面里的幻夢與真實。

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During "Lingering Warmth of Memory" exhibition, Bird Gallery invited the participating artists to engage in a dialogue. The aim was to record and present the artists’ exploratory reflections on their creative journeys through these conversations, sharing and conveying their artistic philosophies and creative systems, thereby offering viewers a more vivid and multidimensional perspective on the artworks and the artists themselves.

For this interview, we have invited artist Lin Yi to explore the stories and thoughts behind her works, allowing us to enter and understand the fantasies and realities hidden within her paintings.

林怡的架上繪畫通過雙重框式結構建立起獨特的視覺敘事邏輯，藝術家在木框的基礎上以精湛的模擬筆觸繪制出虛擬的"第二畫框”，從而構建出介于物質現實與心理投射之間的過渡性場域——一個藝術家精心構筑的虛實之間的“玩具箱”劇場。褐色做舊的木紋、旋轉木馬、手心里的光，那些懸浮在虛擬畫框中的景觀，既非純粹的現實摹寫，也非完全的幻想產物，而是通過視覺修辭建構的童年樂園。

林怡的創作從個體經驗出發，通過那些懸置在虛實之間的普適性童年符號，編織出一代人集體渴望回溯的童年樂園。凝固的童真與流動的時光對話，最終在她畫框構筑的“玩具箱”中，達成了詩意的統一。

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Lin Yi's easel paintings establish a unique visual narrative logic through a double-frame structure. The artist creates a virtual "second frame" on the wooden base frame with exquisite simulated brushstrokes, thereby constructing a transitional field between material reality and psychological projection - a carefully crafted "toy box" theater existing between the real and virtual. The aged brown wood grain, carousel horses, light in the palm of a hand, these scenes floating in the virtual frame are neither purely realistic depictions nor completely fantastical products, but rather a childhood paradise constructed through visual rhetoric.

Lin Yi's creation stems from individual experience and weaves a childhood paradise that a generation collectively longs to return to, through those universal childhood symbols suspended between reality and imagination. The frozen innocence dialogues with flowing time, ultimately achieving poetic unity in the "toy box" constructed by her frames.

Q：你2013年從國美公共雕塑專業畢業，后來為什么過了很長一段時間才決定開始畫畫？

林怡：

作為創作者，我希望藝術一直能是我終身從事的職業。畢業后生活一下子變得很現實，我身邊不少同學，有的去做了教培，有的去其他行業工作。我是個非常敏感且社恐的人，甚至有時看到小孩我都可能會害怕，而雕塑是個很考驗體力的工作，對我來說挑戰很大。但我知道自己是喜歡畫畫的，畢業后我并不是完全沒畫，但真正開始創作，算是從2021年開始，我逐漸沉下心畫畫。一開始我也不知道我會畫成什么樣，但我想試一試，便逐漸有了現在這批作品。

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Q:You graduated from the Public Sculpture department at the China Academy of Art in 2013. Why did you wait for such a long time before deciding to start drawing?

Lin Yi:

As a creator, I hope that art can always be my lifelong career. After graduation, life suddenly became very realistic. Many of my classmates went to work in educational training or other industries. I am a very sensitive and socially anxious person, and I might even feel afraid when I see children sometimes. Sculpture is physically demanding work, which is a great challenge for me. But I know that I enjoy drawing. After graduation, I didn’t completely stop drawing, but it wasn’t until 2021 that I truly began to settle into the process of creating.At first, I didn't know how my art would turn out, but I wanted to give it a try, which gradually led to this current collection of works.

Q：為什么沒有畫傳統的布面油畫，反而用木板作畫？為什么在木板上手動的畫出畫框？

林怡：

其實用木板開始創作一開始是機緣巧合。那時我家里正在裝修，剩下了很多木板。我覺得那些不同形狀的木板很有意思，想起我一個做巖彩的藝術家朋友創作時也用木板，于是對畫在這種材料上能產生的效果感到好奇，便開始嘗試在木板上作畫。

我以前學畫時，老師說我不太關注整體性，上學時老師會定一個硬性標準，告訴你一定要畫到哪一步，這里還不行，那里還不行。但是我現在長大了，可以沒有固定的標準，這就是長大成人的好處之一吧，我可以決定我自己的畫面，我覺得夠了就夠了，這是自己心里的一種感覺。

我畫畫喜歡從局部開始，我會對畫面有個大致的預設，畫到我覺得到位時，其余的部分我就會留白，保留那一刻畫面最好的狀態，然后開始“制作”畫框。很多人看圖片時都以為畫框是我專門設計裝裱的，但其實是我自己畫的，我覺得這樣處理很有意思。

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Q: Why don't you paint traditional oil on canvas, but instead use wooden boards? Why do you manually paint frames on the wooden boards?

Lin Yi:

Actually, I started creating on wooden boards by coincidence. At that time, my home was being renovated, and there were many wooden boards left over. I found those boards of different shapes interesting, and remembered that an artist friend who works with mineral pigments also uses wooden boards. I became curious about the effects that could be produced on this material, so I began to experiment with painting on wooden boards.

When I was learning to paint, my teacher said that I didn't pay enough attention to the overall composition. In school, teachers would set rigid standards, telling you exactly how far you needed to go with a painting, pointing out what wasn't good enough here or there. But now that I've grown up, I can work without fixed standards. That's one of the benefits of being an adult - I can decide on my own composition. When I feel it's enough, it's enough. It's an intuitive feeling.

When I paint, I like to start with details. I'll have a general preset idea for the composition, and when I feel I've reached the right point, I leave the rest of the space blank, preserving the best state of the painting at that moment, and then start "creating" the frame. Many people looking at photos think the frames are specially designed and mounted, but actually I paint them myself. I find this approach very interesting.

Q：這次展出的大部分都是那種很偏童年式的這種主題的作品，就這個繪畫題材上，你當時是怎么去考慮的？你的小孩對這個主題有影響嗎？

林怡：

我有一個小男孩，現在已經上一年級了。養小孩的過程其實很治愈，這些年我陪伴他成長，就好像自己也重新經歷了一個童年一樣。

我畫面里的小孩可以是很多人，有時我覺得我畫的是自己的小孩，但有時我感覺表現的其實是我自己。我曾經特別在乎他人的看法，別人輕輕一句話就可以把我擊碎，但有了小孩以后，我變得強大了很多，這不是因為我要保護他，而是你希望他成為什么樣的人，你自己就要先成為什么樣的人，兩個生命之間會相互塑造。

我有時會刻意處理畫面，讓觀看我作品的人看不到畫面里的小男孩小女孩具體是誰，因為我希望創造一點想象空間，這個小孩并不具體指代誰，而是一個符號化的形象。我創作這些具有童年感的畫面，就像是對自己童年的一種補償，雖然我童年也沒受過什么苦，但我們每個人都想對自己內心的小孩兒更好一點。

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Q: Most of the work exhibited this time features childhood-themed subjects. How did you approach this painting theme? Did your child influence this theme?

Lin Yi:

I have a little boy who is now in first grade. The process of raising a child is actually very healing. In these years of accompanying his growth, it's as if I've relived a childhood myself.

The children in my paintings could represent many different people. Sometimes I feel I'm painting my own child, but sometimes I feel I'm actually expressing myself. I used to care deeply about others' opinions - someone's casual remark could shatter me. But after having a child, I became much stronger. This isn't because I need to protect him, but because whatever person you hope your child will become, you first need to become that person yourself. The two lives shape each other.

Sometimes I deliberately process the images so viewers can't see exactly who the little boys and girls in my paintings are. I want to create room for imagination - these children don't specifically represent anyone but are symbolic figures. Creating these childhood-themed paintings is like compensating for my own childhood. Although I didn't suffer particularly in my childhood, we all want to be a little kinder to the child within ourselves.

Q：《觸》、《手心里的光和玻璃彈珠》會更偏童話夢幻式，你創作他們的想法和其他的作品有什么不一樣？

林怡：

在《觸》這張作品里，指尖發光的原因，是我想用光表現放大指尖上的溫度，捕捉溫暖傳遞的那個瞬間。我小孩有一個階段特別喜歡奧特曼，里面有句臺詞叫“你相信光嗎？”。這句話從成年人的視角解讀，就會有很多其他的含義，我想用自己繪畫的方式，在視覺上呈現一種“相信光”的觸覺。

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Q: Works like "Touch," "Light in Palm and Glass Marbles" have a more fairy-tale, dreamlike style. How were your creative ideas for these works different from your other pieces?

Lin Yi:
In the work "Touch," the reason for the glowing fingertips is that I wanted to use light to amplify the temperature at the fingertips, capturing that moment when warmth is transmitted. My child went through a phase when he particularly loved Ultraman, which features the line, "Do you believe in light?" When interpreted from an adult's perspective, this phrase can have many other meanings. I wanted to use my own painting approach to visually present a tactile sense of "believing in light."