Lin Zhi's creation emphasizes "feeling", starting from having memories, and the mixture of beliefs in the environment makes Lin Zhi constantly think about how to understand the world. Lin Zhi's childhood memory is concentrated in the primary school where his father worked. In the small town, the school was next to the Christian Church, and the church with the spire and flore-ceiling window formed his first memory of the "sense of the sacred". The melody of hymns accompanied him in his childhood, and in the same small town, people's belief in numerology also existed, showing the cultural characteristics of different beliefs. Gradually, in the sense of body and thinking of forest planting, I turned to the interpretation of the composition of the world - "I feel more and more that whether it is a person, an animal, or mountains, rivers and trees, everything is a energy, and there is attraction, repulsion, or pull between them." Therefore, when Lin Zhi talks about his paintings, he emphasizes that because of this "feeling" direction, which is different from "feeling", he always carefully mulls and considers any object or brushstroke appearing in the picture.
Years of living experience in Thailand have given Lin more opportunities to deeply experience the customs and customs of foreign lands. It can even be said that Thailand is a richer and more complex testing ground in the collision of cultures and the integration of beliefs. Buddhism as the state religion and the natural God everywhere, and Christ and Catholicism brought by the colonists, not only mean the collision of national culture, but also the social and political relations here, along with the pulse of civilization and faith, explore the return of power.
For Lin Zhi's artistic creation, foreign religions are not transformed into symbols or elements. What is important is the way in which the presence of "God" is perceived - meditation or meditation allows the artist to obtain a more immersive and pure environment, and the temperament and emotions needed for painting flow into the picture in this process.
Lin Zhih's early paintings have a Basquiat style of flamboyance and flamboyance. The living environment and mood of Southeast Asia are mixed into brushstrokes that fall on the canvas. Thick, bright and high-purity colors are embellished with traces of fluorescent colors. But Lin Zhi believes that that stage is too bright and noisy, not enough "durable".
After returning to China in 2020, the environment of the native land has been covered with a layer of defamiliarization gauze, and the artist has to step into the process of re-cognition. Coupled with the special somosensory experience of being trapped in the epidemic, they have a stronger sense of loss of control over life and life, and painting has become a powerful way for forest planting to fight against this "sense of loss of control". Therefore, in the new stage of his creation, Lin Zhi's works do not have those bright fluorescent colors and bold strokes, black, white and gold are used calmly and restrained in the picture, and the emotional catharsis is greatly reduced, and simplicity, simplicity and ease find a new balance in his pictures.
