记忆的余温｜林怡：每个人都想对自己内心的小孩儿更好一点

珀德画廊在《记忆的余温》展览期间邀请参展艺术家对谈，旨在通过与艺术家的对话沟通，记录呈现艺术家创作历程的探索思考，分享传达艺术家的创作理念及其创作系统，为观者观看作品、了解艺术家带来更生动多维的视角。

本次访谈我们邀请艺术家林怡，探寻她作品背后的故事与思考，让我们得以走进和理解潜藏在画面里的幻梦与真实。

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During "Lingering Warmth of Memory" exhibition, Bird Gallery invited the participating artists to engage in a dialogue. The aim was to record and present the artists’ exploratory reflections on their creative journeys through these conversations, sharing and conveying their artistic philosophies and creative systems, thereby offering viewers a more vivid and multidimensional perspective on the artworks and the artists themselves.

For this interview, we have invited artist Lin Yi to explore the stories and thoughts behind her works, allowing us to enter and understand the fantasies and realities hidden within her paintings.

林怡的架上绘画通过双重框式结构建立起独特的视觉叙事逻辑，艺术家在木框的基础上以精湛的模拟笔触绘制出虚拟的"第二画框”，从而构建出介于物质现实与心理投射之间的过渡性场域——一个艺术家精心构筑的虚实之间的“玩具箱”剧场。褐色做旧的木纹、旋转木马、手心里的光，那些悬浮在虚拟画框中的景观，既非纯粹的现实摹写，也非完全的幻想产物，而是通过视觉修辞建构的童年乐园。

林怡的创作从个体经验出发，通过那些悬置在虚实之间的普适性童年符号，编织出一代人集体渴望回溯的童年乐园。凝固的童真与流动的时光对话，最终在她画框构筑的“玩具箱”中，达成了诗意的统一。

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Lin Yi's easel paintings establish a unique visual narrative logic through a double-frame structure. The artist creates a virtual "second frame" on the wooden base frame with exquisite simulated brushstrokes, thereby constructing a transitional field between material reality and psychological projection - a carefully crafted "toy box" theater existing between the real and virtual. The aged brown wood grain, carousel horses, light in the palm of a hand, these scenes floating in the virtual frame are neither purely realistic depictions nor completely fantastical products, but rather a childhood paradise constructed through visual rhetoric.

Lin Yi's creation stems from individual experience and weaves a childhood paradise that a generation collectively longs to return to, through those universal childhood symbols suspended between reality and imagination. The frozen innocence dialogues with flowing time, ultimately achieving poetic unity in the "toy box" constructed by her frames.

Q：你2013年从国美公共雕塑专业毕业，后来为什么过了很长一段时间才决定开始画画？

林怡：

作为创作者，我希望艺术一直能是我终身从事的职业。毕业后生活一下子变得很现实，我身边不少同学，有的去做了教培，有的去其他行业工作。我是个非常敏感且社恐的人，甚至有时看到小孩我都可能会害怕，而雕塑是个很考验体力的工作，对我来说挑战很大。但我知道自己是喜欢画画的，毕业后我并不是完全没画，但真正开始创作，算是从2021年开始，我逐渐沉下心画画。一开始我也不知道我会画成什么样，但我想试一试，便逐渐有了现在这批作品。

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Q:You graduated from the Public Sculpture department at the China Academy of Art in 2013. Why did you wait for such a long time before deciding to start drawing?

Lin Yi:

As a creator, I hope that art can always be my lifelong career. After graduation, life suddenly became very realistic. Many of my classmates went to work in educational training or other industries. I am a very sensitive and socially anxious person, and I might even feel afraid when I see children sometimes. Sculpture is physically demanding work, which is a great challenge for me. But I know that I enjoy drawing. After graduation, I didn’t completely stop drawing, but it wasn’t until 2021 that I truly began to settle into the process of creating.At first, I didn't know how my art would turn out, but I wanted to give it a try, which gradually led to this current collection of works.

Q：为什么没有画传统的布面油画，反而用木板作画？为什么在木板上手动的画出画框？

林怡：

其实用木板开始创作一开始是机缘巧合。那时我家里正在装修，剩下了很多木板。我觉得那些不同形状的木板很有意思，想起我一个做岩彩的艺术家朋友创作时也用木板，于是对画在这种材料上能产生的效果感到好奇，便开始尝试在木板上作画。

我以前学画时，老师说我不太关注整体性，上学时老师会定一个硬性标准，告诉你一定要画到哪一步，这里还不行，那里还不行。但是我现在长大了，可以没有固定的标准，这就是长大成人的好处之一吧，我可以决定我自己的画面，我觉得够了就够了，这是自己心里的一种感觉。

我画画喜欢从局部开始，我会对画面有个大致的预设，画到我觉得到位时，其余的部分我就会留白，保留那一刻画面最好的状态，然后开始“制作”画框。很多人看图片时都以为画框是我专门设计装裱的，但其实是我自己画的，我觉得这样处理很有意思。

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Q: Why don't you paint traditional oil on canvas, but instead use wooden boards? Why do you manually paint frames on the wooden boards?

Lin Yi:

Actually, I started creating on wooden boards by coincidence. At that time, my home was being renovated, and there were many wooden boards left over. I found those boards of different shapes interesting, and remembered that an artist friend who works with mineral pigments also uses wooden boards. I became curious about the effects that could be produced on this material, so I began to experiment with painting on wooden boards.

When I was learning to paint, my teacher said that I didn't pay enough attention to the overall composition. In school, teachers would set rigid standards, telling you exactly how far you needed to go with a painting, pointing out what wasn't good enough here or there. But now that I've grown up, I can work without fixed standards. That's one of the benefits of being an adult - I can decide on my own composition. When I feel it's enough, it's enough. It's an intuitive feeling.

When I paint, I like to start with details. I'll have a general preset idea for the composition, and when I feel I've reached the right point, I leave the rest of the space blank, preserving the best state of the painting at that moment, and then start "creating" the frame. Many people looking at photos think the frames are specially designed and mounted, but actually I paint them myself. I find this approach very interesting.

Q：这次展出的大部分都是那种很偏童年式的这种主题的作品，就这个绘画题材上，你当时是怎么去考虑的？你的小孩对这个主题有影响吗？

林怡：

我有一个小男孩，现在已经上一年级了。养小孩的过程其实很治愈，这些年我陪伴他成长，就好像自己也重新经历了一个童年一样。

我画面里的小孩可以是很多人，有时我觉得我画的是自己的小孩，但有时我感觉表现的其实是我自己。我曾经特别在乎他人的看法，别人轻轻一句话就可以把我击碎，但有了小孩以后，我变得强大了很多，这不是因为我要保护他，而是你希望他成为什么样的人，你自己就要先成为什么样的人，两个生命之间会相互塑造。

我有时会刻意处理画面，让观看我作品的人看不到画面里的小男孩小女孩具体是谁，因为我希望创造一点想象空间，这个小孩并不具体指代谁，而是一个符号化的形象。我创作这些具有童年感的画面，就像是对自己童年的一种补偿，虽然我童年也没受过什么苦，但我们每个人都想对自己内心的小孩儿更好一点。

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Q: Most of the work exhibited this time features childhood-themed subjects. How did you approach this painting theme? Did your child influence this theme?

Lin Yi:

I have a little boy who is now in first grade. The process of raising a child is actually very healing. In these years of accompanying his growth, it's as if I've relived a childhood myself.

The children in my paintings could represent many different people. Sometimes I feel I'm painting my own child, but sometimes I feel I'm actually expressing myself. I used to care deeply about others' opinions - someone's casual remark could shatter me. But after having a child, I became much stronger. This isn't because I need to protect him, but because whatever person you hope your child will become, you first need to become that person yourself. The two lives shape each other.

Sometimes I deliberately process the images so viewers can't see exactly who the little boys and girls in my paintings are. I want to create room for imagination - these children don't specifically represent anyone but are symbolic figures. Creating these childhood-themed paintings is like compensating for my own childhood. Although I didn't suffer particularly in my childhood, we all want to be a little kinder to the child within ourselves.

Q：《触》、《手心里的光和玻璃弹珠》会更偏童话梦幻式，你创作他们的想法和其他的作品有什么不一样？

林怡：

在《触》这张作品里，指尖发光的原因，是我想用光表现放大指尖上的温度，捕捉温暖传递的那个瞬间。我小孩有一个阶段特别喜欢奥特曼，里面有句台词叫“你相信光吗？”。这句话从成年人的视角解读，就会有很多其他的含义，我想用自己绘画的方式，在视觉上呈现一种“相信光”的触觉。

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Q: Works like "Touch," "Light in Palm and Glass Marbles" have a more fairy-tale, dreamlike style. How were your creative ideas for these works different from your other pieces?

Lin Yi:
In the work "Touch," the reason for the glowing fingertips is that I wanted to use light to amplify the temperature at the fingertips, capturing that moment when warmth is transmitted. My child went through a phase when he particularly loved Ultraman, which features the line, "Do you believe in light?" When interpreted from an adult's perspective, this phrase can have many other meanings. I wanted to use my own painting approach to visually present a tactile sense of "believing in light."