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Beyond Realism: The Life aesthetics and Lyricism in Lin Hao-Bai’s Paintings.
寫實之外:林浩白畫作的生活美學和抒情風格
Associate Professor, Department of English National Taiwan Normal University | Text by Jung Su
國立台灣師範大學英語系副教授 | 蘇榕

The experience of looking at Lin Hao-Bai’s Paintings strikes one as something unique. “ The paintings, at the first glimpse, unequivocally evokes the thought of the sonnet On First Looking into Chapman’s Homer” written by the British Romantic poet John Keats: Then felt I like some watcher of the skies When a new planet swims into his ken; Or like stout Cortez when with eagle eyes He stared at the Pacific—and all his men Look’d at each other with a wild surmise— Silent, upon a peak in Darien.

觀看林浩白的畫作是一種特殊的視覺經驗。乍見其畫作，不由得想起英國浪 漫主義詩人濟慈(John Keats)的〈初讀查普曼譯荷馬有感〉(“On First Looking into Chapman’s Homer”): 我感覺如同一浩浩太空的凝望者， 當一顆全新的星球泅入他的視野; 或者就像那果敢的戈奧迭，以他 蒼鷹之眼注視太平洋——當所有水手 都面面相覷，帶著荒忽的設想—— 屏息於大雷岩之巔。(楊牧譯，《一首詩的完成》)

Where Light Travels - Improvisation, Gaze, and Scene Displacement in Lin Hao-Bai’s work.
光行之處—即興、凝視與林浩白創作中的物景位移
Professor and Chair of Department of Fine Arts, National Taiwan Normal University | Text by Bai Shi-Ming
國立台灣師範大學美術系 教授兼系主任 | 白適銘

Is time a pragmatic register that travels between minutes and seconds, or a rational cycle that symbolizes the past, present, and future? Can a moment and eternity be imprinted or marked? In the continuous displacement of time, how does life validate its time-state? Relatively speaking, space also manifests its length, width, and height through forms of displacement, to hold definition, fulfill function, and generate connections in the process of interwoven links. Here, time and space are variable, and people within, can also be said to be a kind of travel, encounter, experience, or meeting. The process and result is simply memory, illusion, sensation, or awareness, becoming dialectic between whole and fragment in the name of “matter” and “scene”...

時間，像是穿梭在分秒滴答之間的現實刻度，或是象徵過去、現代與未來 往來復去的理則循環?瞬間與永恆，能否因此被刻印或標記?在時間的不斷位 移中，生命以何種形式確認它的時間狀態?相對來說，空間，同樣需要藉由位 移的形式，體現其長度、寬度與高度，並在交錯連結的過程中承載定義、發揮 作用，產生關係。於此，時間與空間充滿可變，人在其中，亦可說是一種行 旅、邂逅、歷經或逢合，過程與結果只是一種記憶、幻影、體感或覺知，以 「物象」、「光景」......之名，成為整體與片段的辯證。

Unveiling recurrent overlays of memory, in addition to seeing.
觀看之外，揭示記憶的反覆疊合
Text by Chang Li-Hao  | 張禮豪

“I’ve always had intense pleasure from looking. Drawing makes you see things clearer, and clearer, and clearer still.” —David Hockney Thinking back, it has been more than a decade since I set foot on French soil for the first time in my life. I only stayed for a short week, but unwilling to miss anything, I visited the small town of Auvers-sur-Oise where Vincent van Gogh ended his life, paying tribute before a humble grave adorned with fresh flowers. I certainly could not miss the temple of art in the hearts of most—Le Louvre, glancing at the enigmatic smile of Mona Lisa amidst the crowds...

「觀看是我所熱愛的。繪畫會影響繪畫，但是，繪畫也讓我們看到本來看不到的東西。」 ──大衛•霍克尼(David Hockney) 回想起來，生平第一次踏上法國的土地竟然也已經是十來年前的事了。猶記得當時只不過停留 了短短的一周，卻深怕有所遺漏似地去走訪了梵谷終結掉自己生命的奧維爾小鎮(Auvers- sur-Oise)，在他毫不起眼卻總有鮮花點綴的墓前致意;當然更不能錯過多數人心中的藝術聖 地──羅浮宮(Le Louvre)，在萬頭攢動間遙望著《蒙娜麗莎》那一抹神秘的微笑......