When one comes across Richard Lin’s works, it is easy to appreciate within them the different kinds of yearning and apprehension that exist in life. Lin has chosen to go with the most precise version of ‘rationality,’ in order to examine the level of solitude that can be displayed in pictures. Even Joan Miró has said, “Lin is unmatched in the world of white color.” In my opinion, the sense of spiritual space as exhibited in Lin’s works is enough to host the soul of a Buddha. His works bring out a kind of philosophy, which is similar to a kingdom about to be revealed. The lines and color blocks, as well as the volume beneath all that whiteness, inspire a passion that simultaneously embodies rationality and sensibility. The deep origin of his works is such that there is no need to respond to the issue of modernity. Instead, they can be considered unmatched in their greatness. Lin’s works contain a sense of unfinished belief. They do not represent a fashionable aestheticism but an entirely new art form, allowing one to rediscover one’s own self existence. The works possess the power to consolidate various philosophies, and symbolize a meticulous manner in which new artists are rebelling against the old perception of art.

Art itself does not send out any messages through humans; rather, it is a reflection of the contradictions and classics outside natural laws. Nevertheless, the belief that art can transcend ethnocentric tendencies has often been ignored, signifying the continual degradation of this specific human quality. Richard Lin, in his works, has developed a highly evolved manner of declaration, which can be regarded as a remnant of the colonization and the war period. It is not a chance discovery, but the result of absorbing thousands of years of Chinese culture. Lin has left his homeland as a young man. How could he have found his roots in a foreign country, and define the meaning of eternity? In his works which seemingly repeat a similar form, how has he managed to become the shining light of morality amidst the humanities crisis during the last century? Richard Lin has discovered something that is not known to many people. It has been with us constantly and loyally in the history of art since the inaugural stages of creation. Within a race’s history of development, without the discovery of creative art and philosophy, and without the picture and beliefs of a self-text, we cannot seriously saythat we are a cultural nation! This unique acknowledgment of creation remains the only ethical deed in the history of art, and it is the reason for Richard Lin’s existence.

In a tumultuous and chaotic time period, culture and self-awareness are being degraded, and artists are adding more and more artistic wounds and native symbols to their art. This sort of art has become a lifetime’s accusation for them, and what the extended parody reflects is not a parallel evolution of humanity, but the first cause for all arts. There always exists a test of the naked truth of the times; it is also the recognition of a theory of grand absurdity. This kind of recognition and self-awareness is even on a par with both religion and philosophy! It represents a new stage after morality and intellect, and a unique culture belonging to mankind. Since it comes from human beings’ own will and clarity, it has never really been correctly validated throughout history. The recognition and self-awareness possessed by the artists are oftentimes not valued during their lifetime. Nevertheless, they remain the last safeguard for the dignity of mankind, providing not only a view of aestheticism, but also a sense of existence. Despite this, the art that has been produced in the first half of the last century has not enabled us to recognize our appearances and true selves. Regardless of the changes in time and style, and the transition from the old to the new, Lin’s view on nature, which has been influenced by Confucianism and Taoism, is not a mere reflection of the current era. On the contrary, Lin is aware of the fact that a truly cultural person possesses the natural ability to discover the intrinsic qualities in things, as well as being able to apply these qualities to the arts in different eras. In the interchanging of cultures, emotion is not the only thing that matters; rather, the reason and self-awareness inspired by art signify the most crucial part of the process.

In a time when sense and philosophy are being forgotten, Lin seeks refuge behind the cosmos, and he alone faces the complexities of the universe and time, as well as the issues involving morality and human existence. In exchange, Lin has unveiled a series of opposite realms in the process. He has said, “I intend to be certain of uncertain certainties.” In order to achieve this, the energy that he requires will not simply be satisfied through the method of philosophical self-examination. Lin has often said, “What is in front of me?” In my opinion, the thing that lies ahead is not an abstract soliloquy full of self-centered inclinations, as that is not the universal order in Lin’s way of thinking. Richard Lin’s works have conveyed a sense of time and space that is neither the start nor the end. We should celebrate the fact that in this age of absurdity, there is still someone who possesses the ability to discover the limits of mankind. Unfortunately, he has the tendency to conceal himself, leaving very few clues as to his whereabouts. What he has left for posterity is a transcendental and quiet way of measuring the infinite unknown. Yu Cheng-yao’s grand vision and Richard Lin’s imperceptible influence seem to provide our developing state with the shining light that it needs to prosper in the future.

From Existence to Non-existence, and Back Again: On Richard Lin’s Works
text by Wang Wei-Ho, Head of the Graduate Institute of Architecture of Tainan National University of the Arts