林萬士個展 【等待果陀】
本次個展借用貝克特（Samuel Beckett ）的劇作「等待果陀」為名，呈現生命在重複的等待中，是覓尋希望的堅持，抑或無謂的虛度。對曾經暫住的空間與時間作截斷式的挪用，以記憶擬塑一種狀態，似有若無，飄忽不定，傳達幻化無常的現代社會觀照。
笛卡爾（Descartes）的名句「我思故我在」，赤裸裸的揭示人類捨棄上帝之後，面對陌生自我的脆弱與無助。就他而言，自我與外在世界是如此生疏，這道鴻溝，被人類極力探究內心幽微世界及存在意義的同時，始終無法填補，愈是挖空心思，愈是惶恐與不安。如劇中所言，果陀不曾出現，但卻徹底改變等待他的人的命運與人生觀。面對我的作品，狀似平靜但隱約不安與幻化式的氛圍，提供一個虛無的空間國度，既無歷史情境也欠缺社會標記，反而是一座不確定性的場境，模糊的空間感，強化人在面對虛幻時的冥想性，畫中不時出現刻意安排的石塊或島嶼，成為狀態中的對象，時間在凝視中凍結，驀然回首，光陰已然飛逝，時間在等待中無限拉長，生命不就是一連串等待的總結？
我的繪畫有別於傳統繪畫中所謂「模擬再現」(representation)一詞，我以大自然狀態作為一種摹本，對自然圖形的覆現表現採取折衷甚至非妥協的策略，透過置換、表現與自然原形不同。本人的繪畫作品在摹本與轉化間依循減法原則，對物理性元素存在以消去法簡化成自身所擬塑與認定的「心靈風景」，簡化式的形式與非敘述性的文本讓觀者無須藉著故事解讀，對時間、空間與記憶產生串聯式的想像與媾和，是面對一個介面，可以心思清明與無限冥思的世界。
This exhibition borrows in the name of Samuel Beckett's drama "Waiting for Godot", showing life in repeated wait﹐is the insistence seek to find hope, or the needless dissipate﹒ My paintings represent the diversion of truncation to a temporary stay of space and time﹐and shape a plastic status by memory﹒It seems to be absent, erratic, and conveys a modern social care of illusionary impermanence.
Descartes's famous line "I think therefore I am ", is bare to reveal vulnerability and helplessness of human′s self facing after abandoning God. To him, the self and the outside world is so alienated, this gap is never been filled in , although the human beings vehemently explore the inner meaning of subtlety and the worth of being in the same time, yet the more rack their brains, the more fear and uncertainty. Such as the play says, Godot never appears, but it completely changed the fate and the life of them. The aspects of my works of painting, seem to be calm but vaguely uneasy with the illusion-like atmosphere, providing a space for the kingdom of nothingness, neither the historical context but also lack of social markers, but an uncertainty of field. For the ambiguous sense of space, enhances Illusory in the face of the meditation of the time. The stones or the islands from time to time appeared deliberately become a state of the objects. Frozen by gaze into the time, when I look back, time is already flying away, and endless stretched of waiting time. Is not life a series of waiting for the summary?
My works of painting differ from traditional paintings in the so-called "representation" (the simulation representation) . I take nature as a facsimile . In the way of reproduction from nature is not a trick but through replacement, and performs the differences from nature itself. I deal the way with subtraction to reform the facsimile and conversion to model the new forms, and question the values for the existence of physical elements and then evoke the new interface from visual semantics and plastic construction. On the other hand, Simplification of form and the non-narrative text let viewers do not need to borrow a story to interpret them. but to face a world where you can sink mind clear and infinite contemplation of〝spiritual landscape〞.
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