林泓君是位绘画的探险者，总是能将独特的创新视觉呈现出来。
《林林》系列是以抽象语义抒发个人纯粹情感，其创作模式逸脱了描写的表现方式，同时，在艺术语言样式方面抽象的机智性与偶然性达到极大的拓展。林的作品中，每一帧画面都是过去的特定时间节点所呈现的镜头，以艺术家的母亲林林这一辈子的经历与时代为背景，时间概念与现实世界的时间流逝完全不一样，现实的时间被悬置，又将自己置身于此，引入了平行空间概念。亦或逃离了时间流逝的规律！而艺术家和她的作品想要表达的，正是人在时间流逝中的无力和无奈！
林泓君用绘画重建空间关系，运用的解析手法，用其敏感的色彩去传达的个人感觉及观念边界的探索与重构，“时间-空间”的关系本就是艺术家与“艺术-人生”的关系永远交结纠缠在一起了。
看《林林》系列需在一个特定的语境、意境、心境中，才能更好的理解它，“三境”会具多重性，我们在一同步入展厅时去感受这种多重性与那些个特定时代吧！
禹廷艺术馆：《林林》系列看起来非常抽象，很多人无法通过画面直接理解你所传递的“情感”与“表达”，而需要深层次的去体悟，为什么会采用这样的方式呢？
林泓君:这系列是我以妈妈的名字“林林”来命名，创作开始的契机是源于退休多年闲来无事的妈妈写了自传体的小说，在帮她整理资料时被她们这一代人最具代表性和画面感的经历所触动产生了做这系列作品的念头，在做作品的之初，一开始我是习惯性用具象手法表达一些人物场景之类，红卫兵，串联，上山下乡，改革开放、千禧年，互联网.....透过每十年一个时间坐标，连起来就是生活变化的轨迹，后来觉得这个时代实在是很遥远，而我也只能通过有色玻璃去遥想以及观察那个时代，那个时代的不真实，已经不再聚焦清晰它失焦抽象隔离碎片化，又重新组合成为那个时代一种特定符号。
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.
禹廷艺术馆：既然那个时代你没有经历，又是如何在脑海中浮现那个时代的“特定符号”呢？是作为艺术家的直觉吗？
林泓君：比如在做【1990】这件作品时，我看了很多那个时代的剧，翻了很多纪录片，一些摄影作品，一些建筑资料，一些关于那个时代小说，那个时代呈现给我的感觉，就是它很听话，大家还是在那个村里村子里很小，但是很温暖，相同生活氛围却大到不相同人生观、小到家庭物品的摆设大致相同略有不同，90年代初相对简单质朴人际关系，工作和梦想成为坊间最大的话题。传统书信的继续往来，电话刚刚普及，一些电子设备还未及问世，还未开始大面积拆迁。我在这件作品时选择有点褪色的暖色调，试图在空间中相悖的多个维度呈现出形态和生态的双重特性。
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.
禹廷艺术馆：本系列作品创作的灵感是源自哪里呢？
林泓君：以【2000】这件作品为例，从妈妈她们这一代人的角度来观看千禧年产生翻天覆地的变化，“认知重启”，她们那一辈人脑子里面攒了很多公式、定律、法则，还攒了很多框框，从1994年互联网进入中国开始，信息的共享、光怪陆离、她们需要在错综复杂的世界中去筛选那些伦理上她们认为是正当的，道德上她们认为是善的，价值上她们认为是普惠的、普世的。这个世界热闹喧嚣，但已不再温暖亲切，在此妈妈的记忆成为我作品建构的体验。画面冷漠疏离的蓝灰色调，来概括重新认识自然、认识自我、认识世界崩塌重构的过程。
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.
禹廷艺术馆：你提到妈妈的“记忆”，又是如何展现的呢？
林泓君：在普鲁斯特的《追忆似水年华》中，他提出了两种记忆：自愿记忆与非自愿记忆。其中，自愿记忆是图像的生产，传达的是事物、事件与经验的外在面貌;而非自愿记忆则更多是由随机的、不请自来的、被感知相似性所召唤的记忆，是认知记忆范围以外的记忆。按照柏拉图或者亚里士多德的说法，记忆被看作是获得关于理想世界的神圣知识或者记录经验知识的手段。当代关于记忆的预设和理解由客观化、记忆更混合了相对主义的后现代主义气质。
在我的【林林】系列作品中，记忆表征体现为认知记忆和情感记忆的混合，试图把妈妈触景生情的记忆作为素材、契机和动力在作品中进行情感和想象体验转化。
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.
禹廷艺术馆：我们发现你的作品中将“时间-空间”与“作品-人生”这样超然的元素融合贯穿到一起，这是如何做到的呢？
林泓君：其实【林林】系列对于空间关系的重建、时间观念的加入，对于观念边界的探索来寻找那些特定时代的感觉，也并非是新的语言模式，我只是在已有的模式中作个人化的处理，所以当我们面对一件作品，得知道它的前因后果。而这种个人感觉与那个时代与人的人生体验有才叫看得懂那一件作品，
一方面，记忆是我作品的来源，是表达和反思的内容。记忆难以界定，但又无处不在，这种感觉你熟悉吗？我不去想每个标题都会成为时代的烙印，当下我所做作品的只属于过去，须把它放在一个一定的语境中，才能更好的理解它。这个语境是双重的，一方面是人的生存处境的变迁，我们的生存环境――包括吃喝拉撒睡的各个方面发生了激烈的变化，另一方面新鲜、刺激永远是现世涉猎者们不断追求并热爱的。于是乎，内心永远难于平静，总会陷于潮起潮落。
又或许，在做作品时的我自己都没能清楚的思绪，回味起来，仍深陷境遇。作品是有灵魂的，它带着你的气息和能量，静下来，读懂 ，你需要时间。
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：禹廷艺术
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