文/ 蕭瓊瑞
1996 至 1997 年間開始的一些裝置作品的嘗試,對李昆霖藝術生命的發展,無疑是具有重大的意 義。似乎這些裝置行動的參與,豁然打開了一條他和外在環境,尤其是人,至少是其他藝術家接 觸、溝通的管道。
但是從平面到裝置,對李昆霖藝術生命發展,更具重要意義的指標,是建立了他明確的語言和思 維。有人以為,甚至主張:表達媒材的改變,也就改變了形式的語言,甚至是述說的內容和思維。 這點,至少對李昆霖而言,並不是正確的。
李昆霖的裝置作品,維持他一貫繁殖性與生命力的有機符碼,在特定的時空中,不斷掙長、延伸。 他不在述說故事,也不在演示思維,而是將內在生命的慾望,以一種極為自由的方式,任其生發、 鋪衍。似乎李昆霖也在這種隨著作品空間不斷繁殖、擴展的過程中,也獲得極大的滿足與實現。
Between 1996 and 1997, Lee Kun-lin attempted to work on some installation arts. This attempt was undoubtly, of great importance in Lee Kun-lin's artistic life. It seems like these installation arts helped open up a communication channel to the outside world, connecting Lee Kun-lin to artists of the same era.
However, the most important meaning of Lee Kun-lin's transition from flat paintings to installation arts lies in the establishment of clearer language and thoughts of him. Some people believe that the change in materials/media also changes the form of the art language, and therefore, the description of the content/thinking is also altered. This does not apply to Lee Kun-lin.
Lee Kun-lin's installation arts, keeping his painting's theme of sexual reproduction, continued to grow in numbers during that period. He does not present the story in a thoughtful manner, but rather in a free manner so as to bring out the desire of inner life. It seems that Lee Kun- lin continued to receive great satisfaction and achievement from this same process, as seen in his works "The Bud and the Pupae, a one way narrative" [2000] and "Metamorphosis" [2000] during this period.
(文/ 日告銘)
1996 的「十三件信仰」構成，結合了繪畫與裝置。
1997 「鳥籠」，鳥籠的意象在李昆霖的作品中時常出現，是他很喜歡使用的象徵語彙。
1997的「母體‧能量」是當時李昆霖設置於台南大學路的環境裝置。