Lin I-chen
Lin I-Chen, a painter and researcher from Taipei, Taiwan, received her doctorate from Kyoto University of the Arts. Now living in Kyoto, Japan, she cultivates a practice that channels high-dimensional energies while reimagining the contours of gendered consciousness, shaping a visual language suspended between spirituality and social critique.
Her academic inquiry begins with Minamata disease, tracing the fragile intersections of literature and visual art to ask how aesthetic form might testify to trauma—translating both individual memory and collective suffering into new artistic constellations.
Since 2023, Lin has worked primarily at Bridge Studio in Kyoto’s Sakyo Ward. Within this vibrant, communal site, she engages in an ongoing exchange of energies and ideas with artists of diverse backgrounds, where experimentation becomes not only a method but an ethos, and collaboration unfolds as a generative force.
林宜蓁，畫家與研究者，出生於台灣台北，並於京都藝術大學完成博士學位。現居日本京都，她的創作實踐盤旋於高維訊息的能量釋放與性別意識的再詮釋之間，在視覺的層次中形塑出一種介於靈性與社會批判的張力。
她的研究以水俁病為切入，追索文學與視覺藝術的交會處，探問美學形式如何成為創傷的見證者，並將個體與集體的經驗重新安置於藝術的語境之中。
自 2023 年起，林以京都市左京區的 Bridge Studio 為創作基地。在這個充滿活力的共享場域裡，她持續與來自不同背景的藝術家交換能量與靈感，使實驗性的探索與協作得以不斷展開。
Art Practice
Lin I-Chen’s practice is rooted in her sensitivity to inner visions. Since the awakening of this inner sight in 2021, forms of geometry, mist, and radiant light have become part of her everyday experience. For her, these images are not illusions but embodiments of energy—raw material that calls to be transformed into art.
Her work responds to the contemporary dissonance between masculine and feminine energies, proposing a cosmology she calls Divine Femininity: a frequency where strength and softness coexist with sovereign grace. This vision unfolds through her reinterpretation of the Mother Maria, who appears not only as a sacred icon but as the embodiment of women's identities—goddess, daughter, wife, and mother—condensed into a symbol of womanhood itself.
Through these layered figures, Lin probes questions of female autonomy and spiritual embodiment, drawing on sacred aesthetics across history. By weaving together contradiction and irony, she uncovers the divinity hidden within the feminine. Each work becomes a mirror—not of fixed doctrine, but of evolving archetypes—reflecting the shifting consciousness of contemporary women and evoking a wider awakening of feminine awareness and planetary spirituality.
林宜蓁的創作源自她對內在意象的特殊感知。自從2021年內在視覺開啟以來，幾何、雲霧與閃耀的光成為她日常的一部分。這些意象在她眼中是能量的具現，亦是需要被翻譯成藝術作品的素材。
她的作品回應當代陰陽能量的失衡，並提出「神聖女性」的宇宙觀。神聖女性能量是一種兼具力量與柔軟、蘊含自主優雅的頻率，這一視點透過對聖母瑪莉亞的再詮釋而展開。瑪莉亞在她筆下不僅是神聖的符號，更是女性多重身分的化身：女神、女兒、妻子與母親，凝聚為全體女性的象徵。
在這些層疊的形象中，林探問女性自主與靈性化身，並借鑑歷史中的神聖美學語彙，以矛盾與反諷交織，揭示潛藏於女性之中的神性。每件作品皆成為一面鏡子，映照的不再是教條，而是不斷生成的原型，回應當代女性意識的流動，並召喚更廣泛的女性覺醒與地球靈性的提升。
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"
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
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