【惠书文｜艺评】林惠兴：我们终究不安的世界
After all, we are a restless world
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我们终究不安的世界
“ 2020·Artist Lin Huixing ”
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做艺术，需要“仪式感”。
这种“仪式感”的指向内容，不仅体现在手艺人对艺术介质的基本材料、物质前期的工作准备，也反应了艺术家对这一“仪式感”的行为过程可能发生难以掌控的预判和设想，以及期望获得来自某种自然性神秘力量中的“鬼斧神工”的异样图示。
”After all, we are a restless world
Article/Hui Shuwen
做艺术，需要“仪式感”。
To do art, you need a sense of ritual.
©林惠兴，《我们终究不安》系列，数字输出，2020
这种“仪式感”的指向内容，不仅体现在手艺人对艺术介质的基本材料、物质前期的工作准备，也反应了艺术家对这一“仪式感”的行为过程可能发生难以掌控的预判和设想，以及期望获得来自某种自然性神秘力量中的“鬼斧神工”的异样图示。
The content of this kind of "ritual sense" is not only reflected in the basic materials and material preparation of the craftsman for the art medium, but also reflects that the artist may have uncontrollable anticipation and assumption for this "ritual sense" behavior process, and expects to obtain the unusual figure of "uncanny craftsman" from some natural mysterious power.
©林惠兴，《我们终究不安》系列，数字输出，2020
从事雕塑艺术的大多数艺术家在创作“正式”作品前一般都会绘制手稿（小稿），以便于个体有个雏形概貌来延续，或者跳脱自我设定的图像“圈套”，其中有的手稿甚至比所谓的正式作品更显灵动性和力量感。
©林惠兴，《我们终究不安》系列，数字输出，2020
Most artists who engage in the art of sculpture generally draw manuscripts (small drafts) before creating "formal" works, so that the individual can have a preliminary outline to continue, or escape the self-designed image "trap", some of which are even more vivid and powerful than the so-called formal works.
雕塑艺术，基本上是构成艺术家林惠兴表达个体思想，以及释义自我内在情绪的主要“武器”之一。他在创作这些雕塑作品前，或者在创作过程中，有意无意地进行手稿（小稿）的绘制实验，它们在林惠兴的脑海中转瞬即逝……其下意识的高频率勾勒，无疑加速了他对于人物形象的敏感捕捉程度。数字绘画不同于运用传统纸笔的绘画方式，但用电脑绘图的行为方式恰如其分地贴切他个人创作的语言要素。
Sculpture art is basically one of the main "weapons" for the artist Lin Huixing to express his individual thoughts and interpret his inner emotions. Before he created these sculptures, or in the process of creation, he consciously or unconsciously carried out the experiment of drawing manuscripts (small manuscripts), which were fleeting in Lin Huixing's mind The high frequency of his subconscious sketch undoubtedly accelerated his sensitive capture of the characters. Digital painting is different from traditional paper and pen painting, but the behavior of computer drawing is appropriate to the language elements of his personal creation.
数字绘画不同于运用传统纸笔的绘画方式，但用电脑绘图的行为方式也同样贴切林惠兴个人创作的语言要素。纵观他近两年的绘画作品，其艺术语言与雕塑语言几近相袭。《我们终究不安》系列是作为平面绘画在三维立体空间中的维度转移，此系列作品在画面的整体布局上更加饱满：背景色基以单色陈设，或深灰色，或冷灰色。除却人物全身动态以外，他们/她们显露的张力多是恣意变形的五官表情，这些五官造型颓废糜烂、惊愕矢的；甚至有着虚妄尽散的气氛……
Digital painting is different from traditional paper and pen painting, but the behavior of computer drawing is also appropriate to the language elements of Lin Huixing's personal creation. Throughout his paintings in the past two years, his artistic language and sculpture language are almost identical. After all, we are upset series is a dimensional transfer of plane painting in three-dimensional space. This series of works is fuller in the overall layout of the picture: the background color base is set in monochrome, or dark gray, or cold gray. In addition to the whole body dynamics of the characters, the tension they / they show is mostly the facial expressions of arbitrary deformation, which are decadent, erosive, astonished and even have the atmosphere of empty and scattered
林惠兴的绘画作品相较于雕塑作品来说，既是对在原有熟悉材料和媒介的转换，也是这些“手稿”作品在其创作上存在的另一层意义——“仪式的艺术”，他将名以正、言而顺的解脱个体存在的必要性和价值体现；透过这一视野注目世界的某个角落正处于苦难之中的人们，并企及引起人们心灵共振以及生命意义的内核！
自然灾难面前，人性，是复杂的，亦是简单的。面对今天的世界，我们终究不安……
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