Angela Lyn

林安琪

FLOATING ROOTS, PIECES OF HOME, THE RETURN 

归途，悬根，家之万物

来自林安琪的船和丝绢，身体和家族历史，即陌生又熟悉的漂流。来自郭国柱的近乎永恒的植物和人之处境。图像，可以是一幅画，一次在鼓浪屿的写生。也可以是一张图片，一张很难分清人和植物、建筑、地貌的老照片。

一切从几年前认识林安琪开始，这是为了完成她的一个心愿，一个从她成长就缠绕在梦境中的时空，将在现实中，与其后辈艺术工作者，在鼓浪屿相遇。

我感兴趣艺术发展中，身份自观，方法论和媒介的选择，以及人性在科技统治时代的挑战。文化是流动的，一切都非固定不变，唯有变化才是永恒。

展览由想象的部分，构成展览的上文，一个想象中的，永恒的船和丝绸上的图案，可以是历史中的，也是现在的。下文是在现场完成的部分，有林安琪的行为（在场）以及两位艺术家，观看、观察的岛上风景，是现在的，因其一直在变化中，亦是永恒的。

李振华

From Angela Lyn, the boat and silk, the body and family history, a strange and familiar drift. From Guo Guozhu are the almost eternal plants and the human condition. 

Images can be a painting, a sketch made on Gulangyu Island. They can also be a photograph, an old photo in which it is difficult to distinguish between people, plants, buildings, and the landscape.

It all began several years ago when I met Angela Lyn. This was to fulfil her lifelong wish—a temporal and spatial realm that had been intertwined with her dreams since childhood—to be realised in reality, where she would meet her artistic successors on Gulangyu Island.

I am interested in the development of art, self-perception of identity, methodological choices, and the challenges humanity faces in an era dominated by technology. Culture is fluid; nothing is static. Only change is eternal.

The exhibition is composed of an imaginary part, which forms the context of the exhibition—an imaginary, eternal boat and patterns on silk that can be historical or contemporary. The subsequent part is completed on site and includes Angela Lyn's performance (on site) and the two artists' observations of the island's scenery, which is contemporary because it is constantly changing, and therefore eternal.

Li Zhenhua