文/ 蕭瓊瑞
李昆霖的超現實風格,是一種生命思索的深痕印記,既有自我內心深刻的發掘, 也有社會現象直截的批判;既有大自然奧秘的無限思索,也有個人生命渺小的深沈慨嘆......。 這些內容都可以從他作品的標題中,明顯發現,如:〔天使的浩劫〕(1989)、〔陷阱〕(1991)、 〔夢魘〕(1991)、〔屠宰場〕(1992)、〔憂鬱山水〕(1992)、〔秀場!事件?〕(1992)、〔慾 與獄〕(1992)、〔墓場婚姻〕(1992)、〔壹店園〕( 伊甸園 )(1992)......等等;這個時期的作品, 筆觸較為大膽,色彩較為強烈,有著年輕人率直、真切,又不免帶著一絲純真、幼稚的特質, 和些許性的苦悶。 Lee Kun-Lin's creativity began with his unique surrealistic style of blending images into symbols. His various arts, including: The Scourge of Angels (1989), Trap (1991), Nightmare (1991), Slaughterhouse (1992), Depression Landscape (1992), Show Business! Events? (1992), Lust and Hell (1992), Marriage in The Graveyard (1992), and One Shop Garden (Eden) (1992), all demonstrated the frank and sincere views he had towards the social phenomenas and infinite mysteries of nature. One can easily sense a trace of his childish qualities and lust for sex in his cold brush strokes and bold colors.
墓場婚姻 Marriage in Cemetery 1992 布上油彩 Oil on canvas 130.5X163.5cm
屠宰場 Slaughter House 1992 布上油彩 Oil on canvas 91X116.5cm
誕生 Birth 1992 布上油彩 Oil on canvas 50X60cm
憂鬱山水 Melancholy Landscape 1992 布上油彩 Oil on canvas 91X116.5cm
洋鋸尺寸 Sizes of Saws 1992 布上油彩 Oil on canvas 116.5X91cm