中國當代裝置藝術家
談起「林天苗」這個重量級的名字，大抵離不開絲線纏繞的創作語言。
本次於路由藝術展演的經典系列——《看影》、《黑白灰》、《藍色架構》、《陷阱系列》、《失與得》——也延續了藝術家對纏繞的堅持、對日常器物的拆解與重構。10/21下午六點半將舉辦開幕會，歡迎大家蒞臨指教。
When the name LIN TIAN MIAO is mentioned, it is inevitable to talk about her language of winding thread and the underlying symbols while we peruse related articles and critiques. This year in NUNU FINE ART, LIN will have her classic series “Seeing Shadow”,“Black-White-Grey”, “Blue Infrastructure”,“Meshes Series”, and “More or Less the same”in the show, which embody the artist’s insistence on the the winding elements and the deconstruction of the artifacts. We are going to have the opening in 18:30, 10/21, welcome to join us.
。黑白灰之灰 Black White Grey-Grey (2013) 245x54x181cm / 96x21x71inches
絲綢，絲線，聚脲，木製框 Silk cloth, silk thread, polyurea, wooden frame
。黑白灰之白 Black White Grey – White (2013)
絲綢，絲線，聚脲，木製框Silk cloth, silk thread, polyurea, wooden frame 216 x 143 x 25cm 85 x 56 x 10 inches
他的作品受到紐約現代藝術博物館（Museum of Modern Art）、布魯克林美術館 (Brooklyn Museum)、舊金山現代藝術博物館（San Francisco Museum of Modern Art）、新加坡藝術博物館（Singapore Art Museum）及澳洲國立美術館（National Museum of Australia）等數十間國際級藝術機構典藏肯定。運用絲線和纏繞作為法則，這個選擇早已透露創作者的動機。即便未刻意走向與陰性氣質相連的發展；而恰與如此寧靜視覺感受相反的，是林天苗將「來回反覆勞動」透過媒材顯現出來的創作過程，精緻、縝密且不失秩序的畫面則隱晦地串起個體行為與集體現象，同時觸及純粹美感的頂點。
LIN’s works have been collected by MoMA, Brooklyn Museum, SFMoMA, Singapore Art Museum, National Museum of Australia, and other international art institutions. Using threads and winding as method, this choice has already revealed the motive of the creator, even though the work itself does not develop a feminine temperament deliberately. LIN then uses the threads to visualize the winding process through repetitive physical actions; refined, meticulous, and orderly landscape strings up the individual behavior and the collective phenomenon, arriving at the point of pure beauty.
。粉色陷阱 Pink Meshes (2013)
絲線，聚脲，鐵線網，木製框Silk threads, polyurea, steel wire mesh, wood frame 80 × 68 × 15 cm 31 × 27 × 6 inches
。綠色陷阱 Green Meshes (2013)
絲線，聚脲，鐵線網，木製框Silk threads, polyurea, steel wire mesh, wood frame 90 × 68 × 15 cm 35 × 27 × 6 inches
。黃色陷阱 Yellow Meshes (2013)
絲線，聚脲，鐵線網，木製框Silk threads, polyurea, steel wire mesh, wood frame 80 × 68 × 15 cm 31 × 27 × 6 inches
倘為林天苗的作品概念劃定類別，多是尋求人們身份認同、性別意識及身體語言的社會性探問，且不斷加諸「女性藝術家」的稱謂於其作品敘事之脈絡中。或許是為了回應外界對於加諸在她身上女性主義的標籤，近年來林天苗開始有了不同的嘗試。以人體骨骼和工具做結合，讓物件賦予新的意義。工具，從象徵意義轉化為我們自身人體延伸的一部分。
If we try to categorize LIN’s concepts behind her works, it touches upon the social inquiry of the identity, gender issues, and physical languages; besides, the title of a “female artist” will also be tagged to her works to understand the narratives behind the creation. Perhaps for the sake of responding to the “feminist label” people stick on her, in recent years, Lin has begun to have different attempt. Combining human bones with tools or hardwares, giving the objects a new meaning and interpretation. Tool, in her works, has transformed itself from the symbolic object into the extension of our body part.
。看影 Seeing Shadow 49 (2010)
畫布噴繪，絲線，棉線 C-Prints on canvas, silk threads, and cotton threads 144 x 284 x 8cm 57 × 119 × 3 inches
以棉線纏上隱約朦朧丶極具傳統歷史氣息的背景，林天苗捕捉已消逝或正被拆毀的傳統文化與建築，如北京四合院丶胡同 巷弄等，透過絲絲細線重構建築畫面，將懷舊的詩意留在作品之中。對藝術家而言，纏絲的過程能平靜內心丶暫忘一切； 同時線具有改變事物價值丶聚集與拆解權力的意義，是既現實又非現實的動態過程。此系列作品自2005年開始創作，嘗試不同製版方式，跨越了主流版畫界限。
Lin Tianmiao tried to capture disappeared and demolished traditional culture or architectures such as Chinese courtyard house and alleys through the way of winding threads on historical foggy backgrounds, using slight lines to reconstruct the scene in order to keep nostalgic poetry in the works. For the artist, the process of winding has the ability to calm her down. Also, the thread has the meaning of aggregating and dismantling power, showing a process of being realistic or unrealistic. “Seeing Shadow” series started in 2005 and has tried different ways of printmaking.
。可能一樣 More or less the same (2012)
聚脲，絲線，不鏽鋼架 Polyurea, silk threads, and stainless steel stands 80 x 50cm 31 × 20 inches
藝術家因母親於2011年過世而開始探索骨骼丶生命等領域，慢慢發覺動物的骨骼與人類幾乎沒有區別丶高下之分，以至自然萬物丶甚至機械亦然。她認為，機械丶工具是人類身體的延伸，是對自身的另一種解釋。大小不一的裝置作品以不銹鋼支架並列掛在牆上，使觀者聯想自身的人體骨骼與生活常見機械工具不可思議的融合，無論是骨骼或工具皆失去了其原有的功能性，而產生了新的價值。
Because of her mother’s death in 2011, the artist began to explore the field of bones and life, and slowly learned that there is no difference between the bones of animals and human beings and so do their values. She argues that all the machinery, tools are the extension of the human body, also act as another explanation of their own. The works with stainless steel bracket on the wall make audience think of the fushion of their own human bones and daily tools. Both of them, no matter the bones or the tools, all lost their original function and created a brand new value after the artist’s interpretation.
。藍色架構 Blue Infrastructure (2013)
樹，線，塑料人，金箔Tree, threads, plastic figures, and gold foil 170 x 130 x 165cm 67 x 51 x 65 inches
以盆景植株為主要形體，根部末梢以金屬圓柱向下延展，彷彿維持著生長與擴張；與此同時，上重下輕的視覺感受使得這株植物呈現瀕臨傾倒衰落的危險姿態，而毫無嫩葉的枯枝則更加深了死亡的印象。底部金黃色的微型人體散落四周，乍看猶如供給養分的土壤堆，必須近身才能破解知曉。藝術家林天苗在這件作品裡挾帶著兩個關乎生命而背馳的概念——生與死， 試圖以此向觀看者提出疑問：是否得在失去無數自由的犧牲下，系統架構才能建設完備。
In the work, a bonsai-like plant’s roots extend downwardly with a metal cylinder as if it is still gorwing and expanding; meanwhile, the thread-wrapped plant stands with a dangerous stance as it is heavier on the top but thinner on the bottom. Thousands of miniature human body in gold are randomly piled up like soil underneath the tree. The artist brings two divergence – being alive and being dead – into this piece, trying to throw a question to viewers that whether the infrastructure only could be built up on the basis of losing our freedoms.
文章來源：Nunu Fine Art
