Lin I-chen
Lin was born in Taipei, Taiwan. A painter and researcher, she recently completed her doctoral degree at Kyoto University of the Arts. Now based in Kyoto, Japan, she continues to develop a visual practice grounded in poetic inquiry and socio-environmental reflection.
Her academic research explores the intersection of literature and visual art through the lens of Minamata disease, examining how aesthetic forms can bear witness to ecological trauma.
Since 2023, Lin has been working primarily from Bridge Studio in Kyoto’s Sakyo Ward, a shared space that fosters experimentation and collaborative energy among artists.
Bridge Studio
Instagram:
Exhibitions
2016 1st movement, ART ZONE, Kyoto
2016 2nd movement, ART ZONE, Kyoto
2021 HYSTERICA, M.A.D.S. gallery, Milan
2022 WINTER DARDEN, Divulgarti Events, Genoa
2022 Space inside of me (私の中の宇宙), Kisaradou (きさら堂), Kyoto
2022 Women in Shibuya (女性の性in渋谷) , Gallery Conceal, Tokyo
2023 Homesick for the stars (星に憧れて), Café Mule (沐樂咖啡) , Taipei
2024 Spiritual awakening (霊性覚醒), Tsukimi sou (ツキミソウ),Kyoto
2024 The Incomplete Sun & The Full Moon, Joudo Fukugo (浄土複合), Kyoto
2025 Torpor – Emerging Global Artists (蟄伏 - グローバル若手アーティストたち), Kyoto City Kyosera Museum of Art (京セラ美術館), Kyoto
Art Practice
Lin’s creative vision is rooted in her rare sensitivity to luminous patterns—geometry, clouds, and radiant forms—that appear both before her eyes and within her inner sight. To her, these ephemeral images are not abstractions, but living expressions of energy. They become portals through which she channels her artistic language. At the heart of her practice lies a response to the global dissonance between masculine and feminine energies. Through her paintings, Lin proposes an alternative cosmology she calls “Divine Femininity”—a frequency of strength, softness, and sovereign grace. This vision takes form in her contemporary reinterpretation of Mother Maria, not merely as a sacred icon, but as a multifaceted being: goddess, human, daughter, wife, and mother. In these layers, Lin unravels modern perceptions of womanhood, offering a nuanced inquiry into female autonomy and spiritual embodiment. Her technique borrows from sacred aesthetics across centuries, weaving together contradiction and irony to reveal the hidden divinity within the feminine. Each image becomes a mirror—not of doctrine, but of evolving archetypes—where the work seeks to reflect the shifting collective consciousness of contemporary women, and to foster a wider awakening of feminine awareness and planetary spirituality.
Education
2021-2023 Ph.D. in Arts, Kyoto University of the Arts
Dissertation: "The Representation of the patients in Michiko Ishimure's Paradise in the Sea of Sorrow"
2016-2018 Master of Arts, Kyoto University of the Arts
Thesis: "Characteristics of Memory Theory in Mari Mori's Literary Works"
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