在光線中的發現｜In the Presence of Light
文｜應力空間 彭奕軒
應力空間很榮幸邀請台灣藝術家吳聯吟，舉辦個展〈阿如夢〉，
廠房挑高、透過自然採光的引入，映照著不鏽鋼材質的藍綠色光澤，那是現場無可取代的樣貌。
金黃帶綠的光線與氬焊的劇烈白光線產生互相交互的漣漪，每一筆的決定都代表著某種相信，一切都由最強烈光源的產生，產生高溫後的痕跡。
鐵工廠是藝術家家族所有，藝術家在工廠裡面工作時，工廠師傅有時會過來看看聯吟所製作的作品，並會給出技術指導的意見，但正是「技術」在聯吟的動作中，是某種仿製書畫的動態、也非全然氬焊技術的粘接，在這兩者皆可能不是的情境下去進行動作。
技術與藝術存在許多可能的銜接之處，我們總是害怕這會不會是一個作為不紮實的途徑，去運用或挪用產生一個不良的過程生產，但所有前後的過程必然會產生出各自時代的轉變，即便它成為非常輕盈的樣貌。
藝術家透過書法字的字意延伸作為工作開端，並透過金剛經對應了如同在氬焊經驗中的感知，凝聚、融化、產生應力並出現於不鏽鋼上。
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所有光源皆成為它的表面｜
這是在「焊書道」作品後的另一個特殊的材質運用，透過如同打磨留下的痕跡，在表面上是察覺不出任何公分落差，確透過表面的反射產生出不同角度，去反光或是所有的色光會進到這些痕跡裡面。
從水墨畫中的「樹」、「石」、「瀑布」等連續性的的勾勒，直至塗鴉繪製的可能性，如同數位工具繪製於表面，藝術家透過實際不銹鋼媒材作為材質表面的探索，光源不斷地折射於「繪製」後的痕跡，如夢幻泡影，如露亦如電。
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In the Presence of Light｜
Soil Space is honored to present Arumon, a solo exhibition by Taiwanese artist Wu Lien-Yin.
Within the soaring ceilings of the factory space, natural light is drawn in, casting blue-green reflections upon the stainless steel surfaces—a unique and irreplaceable quality of the site itself.
Golden-green rays ripple against the fierce white of argon welding, interacting like waves. Each movement marks a moment of trust, a decision forged in the presence of the most intense light, leaving behind traces shaped by high heat.
The iron factory belongs to the artist’s family. While working there, Wu Lien-Yin is occasionally joined by factory craftsmen, who offer technical advice. Yet, in Lien-Yin’s gestures, “technique” transforms—it echoes the fluid motion of calligraphy, while diverging from the precision of welding. His movements occur in a liminal space, where neither discipline fully defines the act.
Between technique and art lie countless points of connection. We often worry that such crossovers might seem ungrounded, or that appropriation may produce flawed outcomes. Yet every process inevitably reflects its own era's transformation—even when it takes on the lightest of forms.
Beginning with the meanings found in calligraphic characters, the artist turns to the Diamond Sutra, drawing a sensory parallel to her experience with argon welding: a process of concentration, fusion, the build-up of stress, and its manifestation on stainless steel.
All light becomes its surface｜
This body of work follows her previous “Welding Calligraphy” series, now exploring a distinct material direction. Through marks akin to those left by polishing, the surface appears seamless to the eye—yet light, in its constant refraction, enters these traces, revealing varied angles and tones.
From the continuous strokes of traditional ink painting—“trees,” “rocks,” “waterfalls”—to the potential of graffiti and digital renderings, Wu Lien-Yin uses stainless steel as both medium and surface. Light dances across the marks left behind, refracting endlessly.
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All things contrived are like:
Dream, illusion, bubble, shadow,
And as dewdrop or lightning.
