快門落下、光影明滅，幀幀照片 30 年來中港台韓巨星精華歲月停滯瞬間，林炳存的商業攝影技術在兩岸三地早已是首屈一指，然而卸下光環回歸如常生活，細膩觀察一景一物，攝影成了創作媒材。距離前一次正式展出睽違十年，扣準東方美學，林炳存將光影作為畫筆、底片當成畫布，留下女體舞動的殘影，象徵水墨畫裡的飛白，留給觀者思緒紛飛的空間，展覽「鏡墨・流白」模糊了繪畫與攝影、東方與西方、新舊時代的界線。
The shutter captures, the bright light dims and flickers, and frozen moments have been captured in photographs of celebrities in China, Hong Kong, Taiwan, and South Korea over the last 30 years. Skills of the commercial photographer Joshua Lin have been second to none in mainland China, Taiwan and Hong Kong. Nevertheless, he lives his private life behind the glamor in a simple style with the careful observation of every scene and details of objects, photography becomes the material media of his creation. It’s been 10 years since his last formal exhibition, and eastern aesthetics was the theme; Joshua Lin used light and shadow as paintbrushes, the film was used as the canvas that keeps the partial images of dancing feminine figures as the symbolic of hollow strokes in Chinese paintings for leaving space for spectators’ emotions and thoughts. The exhibition called Flux of Shadows blurs the boundaries between painting and photography, the east and the west, the new and the old times.
此次展覽作品推翻過往精準的人像拍攝，「把人的臉都去掉，少了複雜元素，單純以女體線條表現所有氛圍。」創作從簡卻好似呼應水墨作畫精髓，肢體結構留在拍攝現場，生動的氣韻只傳神不傳意，觀者的眼光得以隨著影像裡的飛白無限延伸，填補畫外之意，林炳存雖謙稱不到能真的提筆創作水墨畫的境界，然而無數個舞者踏過三年光陰，一次次拾起底片相機 20 餘張照片終究在數位時代裡顯影，淋漓盡致展現底片的生命力。
Back to the Enthusiasm for Photography
Portrait photography takes precision and acuity, a carefully planned background, and delicate enhancements of facial features; through collaborations and the photographic techniques of Joshua Lin, the absolute meaning is expressed through the features of the subjects. The visible accomplishment of Joshua Lin is adept with an attractive loud voice at perfectly capturing moments; the supreme photography skills have become memories stored in his body. However, once he took off the identity as the chief photographer, he seemingly lives his life with artistic filters, esthetics can be found everywhere around him, either flowers, grass, trees, or sky, light, cloud, or quickly browsed Chinese paintings. Photography is no longer just a tool but a material media of art creation.
The pure creation in photography turns out to be an unconventional exit, and it can always lead Joshua Lin back to his original purpose. He shared his thoughts, “creation without a purpose is a pleasure; stress comes along with intention.” Consequently, his photography, such as Portrait of a lady and Fashion. Aborigines, were created. Yet, the strong sense of eastern lexicon and local aesthetics have allowed Joshua Lin’s personal creation exhibited in the US and Japan, becoming an international dialog box of communication. The accumulation of his creative power has eventually impressed the vision worldwide.
Three-Years of Repeated Creation
Three years ago, Joshua Lin’s Eastern Aesthetics in Photography got an invitation from France to host an exhibition. However, it was canceled due to the global COVID-19 pandemic and his collection of works was kept locally. The creations in his mind are never the extension of an existing model; He “expects to try the new senses of creation.” The use of photography in the presentation of unconventional aesthetics of the east made him deal with stuck thoughts. At an encounter with an artist, their conversation that got down to every difference between eastern and western paintings inspired him with the four-word Chinese phrase, “Hsu Wu Piao Miao (it means illusory).” With the retrieval of his past experience in Chinese paintings, the lens was used as the ink, feminine figurative lines and background sets were used as the canvas, and the photography exhibition was given the name, Flux of Shadows, which manifests dancing postures of feminine figures through film cameras.
The black and white images that are inscribed with the lexicons of ink paintings have made the boundary between paintings and photographs become ambiguous and attempted to trigger the spectator’s curiosity. In order to present the aesthetics of spaces in ink painting, Joshua Lin adopted the repeating flash technique in photography; the flashing lights capture the movements of dancing models in the real world, the shadows of time and space are kept in the images to form the classic hollow strokes in Chinese paintings.
The works in this exhibition unfollow the rule of acuity in portrait photography. “The removal of faces eliminates the element of complexity; the whole ambiance is created from feminine figurative lines.” The simplicity of the creation seemingly responds to the essence of Chinese painting by leaving the structure of the body at the photoshoot location, and the vitality conception of art is expressive instead of displayed. The spectator’s vision is extended infinitely with the hollow strokes in the images for a visual metaphor. Joshua Lin is a very modest man, refusing to take any credit for creating an atmosphere like a Chinese painting. While it is true that numerous dancers were involved throughout the past 3 years of using film cameras during different times, the creation of more than 20 photos fully describes the vitality of film in the digital era.