林增文首次个展《枯落成宴，再绽浮生》即将开幕

林增文首次个展《枯落成宴，再绽浮生》即将开幕精华热点

2026-09-15 14:57:17 268阅读

关注

枯落成宴，再绽浮生

YOU EAT YOU SH*T , YOU LIVE YOU DIE

林增文个展 James Lin Solo Exhibiion

开幕/ Opening Reception: Sunday, 周日，2026.9.20, 1:00–6：00 PM

展期/ Duration: 2026.9.20 - 10.10

学术主持/ Academic Chair: 梁爽 Liang Shuang

地址：中方角画廊，北京朝阳区798艺术区中一街D03-8

Location: ZFJ-Gallery, D03-8, Middle First Street, 798 Art Zone, Jiuxianqiao, Chaoyang District, Beijing

Free and open to the public，公众免费开放

枯落成宴，再绽浮生

YOU EAT YOU SH*T , YOU LIVE YOU DIE

文/梁爽

植物与自然素来是艺术史中历久弥新的母题。从史前洞窟壁画，到世界范围内的花卉植物图案化时代；从唐宋花卉绘画到北方文艺复兴静物画对花叶分毫毕现的描摹；再到新艺术运动借植物曲线挣脱古典束缚，千年以降，艺术家借花木观照生死，在一花一叶间安放对世界的感知；花卉草木亦承载着人类对生死枯荣亘古的思索。青年艺术家林增文的首次个展《枯落成宴，再绽浮生》，便从个人养植植物的日常体验出发，把对生命的敏锐体察，延伸向对生命循环的诗意哲思，为这一古老母题注入属于当代青年的鲜活叩问。

辗转多国的生活经历，赋予艺术家多元的文化背景和跨媒介的开阔视野。展览形成极具张力的二元叙事：油画与丙烯手绘落笔蓬勃生机，把“再绽浮生”的生命力诉诸画布，手的温度灌注于层层堆叠的颜料，描摹草木破土、肆意舒展的状态；数字绘画则撷取墨西哥亡灵节、巴洛克与穆夏的视觉养分，骷髅与繁花缠绕共生，诠释“枯落成宴”的凋零意象。他拒绝机械复刻现实植物，大胆重组花叶、重构物种，让死亡不再是终点，而是生命盛放的镜像。

在图像快餐盛行的当下，林增文打通传统与数字媒介的边界，在手绘的温度与电子媒介的无限想象力之间寻找平衡。作品不止于个体际遇与情绪的抒发，更由草木枯荣引申至万物共生的生态观，凋零并非湮灭，而是孕育新生的土壤。由在盛放与寂灭的对望之中，青年艺术家以热烈又诡魅的视觉语言，照见生命轮回里生生不息的内在力量。

Plants and nature have long been an enduring motif in art history. From prehistoric cave murals to the global era of stylized floral patterns; from flower paintings of the Tang and Song dynasties to the meticulous rendering of foliage and blossoms in Northern Renaissance still lifes; and onward to the Art Nouveau movement, which broke free from classical constraints through botanical curves. Over thousands of years, artists have contemplated life and death through plants and trees, lodging their perceptions of the world within every flower and leaf. Flora also carries humanity’s age-old reflections on life, death, decay and renewal. ‘YOU EAT YOU SH*T YOU LIVE YOU DIE’, the first solo exhibition by young artist Lin Zengwen, originates from his daily experience of growing plants. It extends his acute observations of life into poetic philosophical meditation on the cycle of existence, infusing this ancient motif with vivid inquiries unique to contemporary young creators.

His life experience across multiple countries has endowed the artist with a diverse cultural background and a broad, cross-media vision. The exhibition constructs a highly charged binary narrative. Oil and acrylic hand-painted works capture exuberant vitality, translating the life force of “reblooming amid mortal floating life” onto canvas. The warmth of the artist’s hand permeates layers upon layers of piled pigment, depicting plants breaking through soil and stretching freely. Digital drawings draw visual nourishment from Mexico’s Day of the Dead, Baroque art and the works of Alphonse Mucha, where skulls intertwine and coexist with blooming flowers to interpret the imagery of withering in “feast of withering”. Rejecting mechanical replication of real-world plants, he boldly recombines petals and leaves and reconstructs species, framing death not as an end, but as a mirror image of life in full bloom.

In an age saturated with fast-food imagery, Lin Zengwen bridges the boundary between traditional and digital media, striking a balance between the warmth of hand-painting and the boundless imagination of electronic media. Beyond expressing personal encounters and emotions, his works extrapolate from the waxing and waning of vegetation to an ecological vision of all coexisting beings. Withering is not annihilation, but soil that nurtures new life. Amid the confrontation between bloom and extinction, this young artist uses a fervent yet eerie visual language to reveal the inexhaustible inner power inherent in the cycle of life.

--------------------------------------------

关于艺术家

林增文（James Lin），b1994

艺术家与艺术创意者，现工作生活于北京。2016年毕业于RMIT大学艺术系。2018年赴意大利、西班牙研修写实油画，参与安东尼奥·洛佩斯·加西亚、格鲁仇两位艺术家的专项课程，与徐芒耀先生及多位中央美术学院教师同期交流研习；随后于意大利佛罗伦萨、西班牙多地开展为期六个月的游学创作，实地汲取欧洲古典艺术积淀。

深耕油画，丙烯，水彩等传统媒介的同时，融合电子绘画等多媒介的表达。自幼多元文化的成长环境塑造出开阔的创作底色，作品融合东方美学韵味与欧洲古典装饰语汇，受洛可可、巴洛克及慕夏插画风格影响深远。长期观察植物枯荣循环的生命轨迹，精于植物题材精细刻画与氛围营造，以骷髅意象与繁茂植物为核心符号，凭借流畅的装饰线条与浓烈饱满的色彩，呈现出死亡与生机并置的独特视觉气质。

Artist and creative practitioner, currently lives and works in Beijing. He graduated from the School of Art, RMIT University in 2016. In 2018, he travelled to Italy and Spain to study realist oil painting. He attended specialized workshops led by Antonio López García and Grubić, and conducted collaborative studies alongside Mr. Xu Mangyao and multiple faculty members from the Central Academy of Fine Arts. Afterwards, he embarked on a six-month residency and creative journey across Florence, Italy and various locations in Spain, drawing firsthand inspiration from the heritage of European classical art.

While delving deeply into traditional media including oil, acrylic and watercolour, he integrates expressive approaches from multi-media such as digital painting. Raised in a multicultural environment since childhood, he has developed a broad creative foundation. His works blend the charm of Eastern aesthetics with the decorative vocabulary of European classical art, profoundly influenced by Rococo, Baroque and Mucha’s illustrative style. He has long observed the life cycles of plants in decay and renewal, excelling at detailed rendering and atmospheric construction in botanical subject matter. Taking skull motifs and luxuriant flora as core symbols, he employs fluid decorative lines and rich, saturated colours to deliver a distinctive visual temperament where death and vitality coexist side by side.

--------------------------------------------

关于学术主持

梁爽（Liang Shuang），b1994

策展人、艺术史学者、艺熠熹棠联合创始人。

先后获得中央美术学院美术史学士学位和清华大学美术学院艺术史论硕士学位。

独立写作者，早期任职于《东方艺术·大家》，后为等多种刊物、平台撰稿。

策展人、资深美术馆运营人，经历中国民营美术馆发展，策划过几十场大型展览，对于美术馆运营、策展、收藏系统、跨界资源整合有深入研究。

Curator, art historian, Co-founder of Yiyi Xitang.

She/He holds a Bachelor’s degree in Art History from the Central Academy of Fine Arts and a Master’s degree in Art History and Theory from the Academy of Arts & Design, Tsinghua University.

An independent writer, she/he previously worked for Oriental Art · Masters, and has contributed articles to numerous publications and online platforms.

As a curator and senior museum administrator who has witnessed the development of private art museums in China, she/he has curated dozens of large-scale exhibitions. She/He conducts in-depth research on museum operation, curatorial practice, collection systems and cross-disciplinary resource integration.

--------------------------------------------

部分参展作品