As an artist, Lin is particularly sensitive to the natural environment, the land itself and the geographical space. For him, everything in his work starts with a total or partial involvement of the surrounding environment. Having lived in Australia for many years, the nature, the colour and the light of its landscape have generated intense emotions that impacts his artistic practice and ways of expression.
Lin Chunyan lives in Beijing nowadays as a professional artist. He was born in Beijing in 1962 and began exploring art as a teenager by learning to paint in oils. In 1989, he travelled to Australia for the first time, and has been living and working in turn in China and Australia since then. In 1994, he graduated from the Visual Art Department of the University of Western Sydney, Australia. His paintings were presented amongst others in group exhibitions in New York, Boston, Paris, Sydney, and in solo exhibitions in Beijing, Harbin, Guangzhou and Sydney.
The Evening Glow 晚霞, 2017, Oil on canvas 布面油画, 200 x 300 cm
Beauty comes from the reflection of the mind. It is positive, with a resonating and accomodating cultural foundation. I pay primary attention to works which are unique, artistic and with touching characters. "Beauty" is like the air that needs to be consiously experienced - life disappears when one fails to do that.
—— Lin Chunyan
Mulberry No. 1 龙桑之一, 2018, Oil on canvas 布面油画, 60 x 60 cm
Lin insists that humans are a part of nature and people should be concerned for the natural environment. For him humans, plants and animals are equal, and that they are simply different forms of life. Furthermore, he maintains that while it is widely known that humans can change plants and animals, plants and animals can also change humankind. He says that the head is for thinking, and that one’s perceptions and understanding and what is articulated in words or visual images is about the natural environment. As to why he uses plants to replace the human head in his paintings, he says that when you see a plant, you are the plant, and this is a psychological state in which the environment and the self each observes the other. He says that traditional Chinese philosophy speaks of “the unity of heaven and humankind,” but that he prefers what he himself has coined: “the unity of humankind and the environment,” or even better: “the unity of the environment and humankind.”
—— Excerpt from ‘Projections of the Self in the Art of Lin Chunyan’, Mabel Lee, Ph.D.
Winter Afternoon 冬天的下午, 2018, Oil on canvas 布面油画, 200 x 300 cm
In his work, one sees the unified freedom of humanity and that of the painterly language since post-impressionism. Just as Kant recounts “… that of taste in the Beautiful is alone a disinterested and free satisfaction.”
The appearance of plant [on Lin’s canvas] generates different meanings over time with the changes occurred in the artist’s life. In the meanwhile, the relationship between the plant and humans represents the visual embodiment of Li Chunyan’s Weltanschauung (worldview). Therefore, Lin Chunyan’s work are conceptual paintings but representative sketches from nature. It is different from the method of expression we are more familiar with in which concept is indicated by corresponding symbols, for his expression of concept is more self-contained and integrated.
—— Excerpt from ‘Dissociation and Doubt: The Significant Meaning of Lin Chunyan’s Paintings’，Wu Hong, Chief Editor of Artron.net
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