The ongoing presence of violence, continuously employed as a quick and simple means of problem-solving, is disconcerting and disheartening. It represents a profound regression in our collective human nature and civilization. As Mahatma Gandhi wisely stated, "An eye for an eye will only make the whole world blind." This work invites reflection and transcending any primal instincts that drive us to resort to violence, calling for the collective wisdom of peace and understanding.

暴力的持续存在, 持续被作为一种快速简单的解决问题的手段是令人不安和沮丧的，它是我们集体人性和文明的深刻倒退。正如甘地的明智之语：以眼对眼的最终只会让整个世界失明。该作品邀请反思并超越任何驱使我们动用暴力的原始本能，呼吁和平和理解的集体智慧。

书名《The Quick and Easy Way》（《快速而简单的方法》）之中，书名所承诺的是便捷与效率，而图像所指向的却是暴力器具，来传递令人不安的现实：暴力之所以持续存在，部分原因正在于它经常被视为解决问题最快速、最直接的手段。然而这种“简单”的解决方式，带来更深远的伤害与更复杂的后果。

同系列小型装置作品中，语言与图像、承诺与现实、理想与后果不断发生碰撞。每一本书构成一个微型悖论：书名所代表的观念与雕刻图像所揭示的现实彼此对立共存。

我们不只是生活在现实之中，也生活在各种观念、口号、承诺与叙事之中。

One Hundred Percent is an installation artwork that extensively utilizes clothing tags produced en masse in factories as a unique material. By magnifying it, the artwork boldly proclaims that fantasy is a promise and advertising associated with mass production, offering feedback that in the realm of material consumption, it's not just about the products themselves but also about imagination and emotion.The inspiration behind this installation artwork stems from witnessing the frantic pursuit of fast consumption and large-scale production in modern society, as well as people's excessive reliance on materialism. By enlarging what is typically an overlooked small item - clothing tags - into a colossal installation, the artwork seeks to convey a powerful message: we live in a world dominated by labels, packaging, and mass manufacturing, where these tags were once promises of dreams and fantasies.The name of this installation artwork, "one hundred percent," signifies a commitment of the highest purity, but it also carries a hint of irony, questioning whether this commitment is truly worthy of our trust. The artwork prompts viewers to reflect on their roles in the material world, the satisfaction they derive, and their relationship with reality.

百分之百

大量使用了工厂批量生产的服装标签作为别致的材料，放大地宣告了幻想作为批量生产的承诺和宣传，来反馈物质世界消费的不仅仅是商品本身，同时还有想象力和情感。这个装置作品的灵感来源于目睹现代社会对于快速消费和大规模生产的疯狂追逐，以及人们对于物质主义的过度依赖。通过将衣物标签这一通常被忽视的小物件放大成巨大的装置，作品试图传达出一种强烈的讯息：我们生活在一个被标签、被包装、被大规模制造的世界中，这些标签一度是对梦想和幻想的承诺。

这个装置作品的题目：百分之百意味着一种百分之百的最高纯度的承诺，隐含着一种讽刺，询问该承诺是否真的值得我们的信任？作品让观众反思自己在物质世界中的角色，满足感和以及我们和现实的关系。

This installation consists of twelve vibrant, transparent, hollow acrylic glass boxes arranged in a row, forming a rainbow-like spectrum of colors. The text on the boxes, including book titles, authors, publishing houses, and a line of simple yet resolute promotional phrases, is sourced from twelve top-selling self-help books. These books instruct individuals on how to swiftly attain happiness and joy. The sales figures of these books are remarkable, but even more remarkable is the depth of helplessness hidden behind the intense yearnin

这件装置作品由十二个色彩鲜艳、透明、空心的丙烯酸玻璃箱组成，它们排成一排形成了彩虹般的色彩。箱子上的文字，包括书名、作者、出版社，以及一行简单坚定的宣传句，来自12 本真实出版的排名前列的畅销书，教导人们如何迅速地获得快乐和幸福，这些书籍的销量是惊人的，更惊人的是在强烈的渴望背后，有多少深切无助的人们。

Currency is commonly understood as a symbol of value, order, and trust. The figures depicted on banknotes carry not only economic significance but also embody collectively accepted narratives. As these images are intervened upon by colorful threads, the transparent acrylic further reinforces this state of contradiction, creating a sense of distance from reality.

Once currency ceases to function as a medium of exchange and is extracted from the economic system, it is transformed into an object to be viewed, preserved, and contemplated. The symbols once intended for exchange are removed from circulation and enter another order of time.

生存之道

货币通常被视为价值、秩序与信用的象征。纸币上的形象承载经济意义，也代表着被广泛接受的集体叙事。当图像被彩色缝线所介入，透明有机玻璃进一步强化了这种矛盾状态，并使其与现实产生距离。

当货币不再作为流通媒介，而从经济系统中抽离出来，转化为一种被观看、被保存、被凝视的对象时，原本用于交换的符号停止流通，进入另一种时间之中

放大，在这个残酷的世界找找我那电子灵魂

The title of this work is drawn from a line by poet Warsan Shire: “No one puts their children in a boat unless the water is safer than the land.”

The installation consists of a long wooden beam, concrete blocks, and numerous acrylic elements. A single centrally positioned concrete block supports the entire beam, creating a fragile and highly unstable equilibrium. Any slight movement has the potential to disrupt the balance, causing the acrylic pieces resting on the beam to slide or fall. Through this minimal physical arrangement, the work transforms a state of suspended risk into a reality that can be directly perceived and experienced.

The work reveals a harsh truth: migration does not always begin with hope; more often, it begins with desperation.

Migration is often understood as a voluntary choice. For refugees, however, departure is a difficult decision made between an unbearable reality and an uncertain future. When home can no longer provide safety, displacement becomes a condition of survival; when staying means danger, leaving becomes the only remaining possibility.

Continuing Lin's long-standing interest in questions of identity, belonging, and the human condition, this work extends individual experience into the global reality of forced migration. It reflects on a circumstance in which migration is driven not by the promise of a better destination, but by the collapse of the world left behind. The work reminds us that, for many people, movement is not the pursuit of opportunity but the consequence of having no place left to remain. 

作品标题取自诗人 Warsan Shire 的诗句：“没有人会把自己的孩子放上一艘船，除非海水比陆地更安全。” 装置由绵长的条木、水泥砖块与数量众多的亚克力构成。仅有的居中的砖块支撑着整块木条，造就脆弱而及其不稳定的状态。任何细微的移动都可能导致结构失衡，使木头上的亚克力滑落或坠毁。作品以一种极简的物理关系，将悬而未决的风险转化为可被感知的现实。 作品揭示一种残酷现实：迁徙并不总是通向希望，而往往始于绝望。 迁徙通常可以被理解为主动的选择，但对于难民而言，离开是在更坏的现实与未知的未来之间作出的艰难决定。当家园无法再提供安全，漂泊反而成为生存的条件；当留下意味着危险，离开便成为唯一的可能。 延续林对于身份、归属与存在处境的关注，这件作品将个体经验扩展至全球性的迁徙现实。它所讨论的是人在失去归属，熟悉的世界崩塌时，迁徙并非因为远方充满希望，而是因为身后已经没有退路。

Through a seemingly playful visual metaphor, the work examines how information is received, believed, and circulated, transforming an everyday image into a reflection on authority, perception, and social consensus.

Ears traditionally symbolize listening and the acquisition of knowledge. Here, however, they function more like unverified points of entry for information. The work suggests that the pursuit of certainty may gradually distance individuals from their own experience, leading them to rely increasingly on external voices, opinions, and systems of authority. 

 探讨人们如何接收、相信并传播信息。将看似轻松的视觉隐喻转化为对权威、认知与社会共识的观察。 耳朵原本象征倾听与获取知识的能力，但在这里，它们更像一种未经验证的信息入口，对于确定性的追求，可能使个体与自身经验渐行渐远。

 I Have Yearned for Something I Cannot Afford is composed of data cables. Data cables perform the function of connection and transmission, supplying energy to devices and enabling systems to operate. When separated from the devices to which they belong and left to exist independently, they open up multiple associations concerning relationships, dependency, and the meaning of existence.

Connection confers value, yet also creates dependency; separation brings freedom, yet may result in the loss of meaning. Extending this relationship further into contemporary society, the work raises a broader question: as value becomes increasingly dependent upon validation from external systems, do we gradually come to understand ourselves as beings that must constantly remain connected, updated, and empowered?

数据线承担连接与传输的功能，为设备输送能量，使系统得以运作。当它们脱离设备而独立存在时，打开了关于关系、依赖与存在意义的多重联想。连接赋予价值，也制造依赖；分离带来自由，却可能导致意义的流失。将这种关系进一步延伸至当代社会，当价值越来越依赖于外部系统的确认，人们是否也逐渐将自身理解为一个需要不断被连接、被更新和被赋能的存在？