Post-Truth – Lin Chang-Rong's Creative Discourse

《後真實》以當代藝術手法、觀念藝術結合裝置藝術的表現，呈現多元媒材及陶瓷創作的工藝展示；研究論述詮釋創作歷程、作品形象進而反應生活，期啟發讀者與觀者批判、自省、詩意等思維。作者常以創新手法展現其對社會現象與其轉變的深刻觀察；映現創作者詮釋社會現象的人文情懷，以作品關注社會進程，及身為知識份子對當代的使命感和熱情。《 ISBN 978-986-98-3231-1​》
"Post-Truth" uses contemporary art methods, conceptual art combined with installation art to present a display of various materials and ceramic craftsmanship. The research discourse interprets the creative process and the imagery of the works, reflecting life and aiming to inspire readers and viewers to engage in critical thinking, introspection, and poetic thoughts. The author often uses innovative approaches to present profound observations on social phenomena and their transformations, reflecting the creator’s humanistic concerns in interpreting societal issues, and the sense of mission and passion of an intellectual towards contemporary issues. 

Post-Truth – Lin Chang-Rong Solo Exhibition Catalog

《「後真實」個展作品集》所收錄之重要觀念藝術作品之一「The Future Vocabulary（未來語彙）｣ ，以表達後真實的視角，形成下一階段的真實，也試圖探索、預測未來真實性的走向，該作品以陶瓷為材在觀念和當代藝術詮釋、表現受到矚目，獲參「第9 屆Ciudad de T alavera 國際陶藝雙年展 ｣ 展出於西班牙，在海外藝界受相當的關注。與題「POST-TRUTH」同名之創作，呈現著一種跟隨、模擬建構出的新品牌，而這個新品牌在整體的空間營造下，表現了資訊傳播與拜物信仰世代所生的速成；「Take a Break !」作品則提及了模仿或「偽品」超越真實的竄位，以開會文件製成的立體茶包之衝擊，讓在觀者欣賞作品的同時於視覺與內在感受上產生了既有功能認知和象徵意義上的轉變。《後真實－個展作品集》再一次地顛覆了人們對工藝藝術表現的框架與窠臼，突破的觀念與創新的表現手法，讓觀者重新思辨的無限可能，並具有批判、自省、詩意等啟示和思維。《ISBN 978-986-98-3230-4》
One of the key conceptual art pieces featured in "Post-Truth Solo Exhibition Catalog" is "The Future Vocabulary", which expresses the perspective of post-truth and forms the next stage of truth. It attempts to explore and predict the future trajectory of reality. This ceramic work has garnered attention in both conceptual and contemporary art interpretations, and was exhibited in the "9th Ciudad de Talavera International Ceramics Biennale" in Spain, receiving considerable attention from the international art community. The piece "POST-TRUTH", which shares its title, presents a new brand constructed by following and mimicking, representing a generation shaped by the rapid spread of information and consumerism. The work "Take a Break!" refers to the imitation or “fake” products surpassing reality, symbolized by 3D tea bags made from meeting documents, impacting viewers with a transformation in both functional and symbolic meanings. "Post-Truth – Solo Exhibition Catalog" once again subverts the framework and stereotypes of craft art expression, with its groundbreaking concepts and innovative approaches, allowing viewers to rethink endless possibilities and providing critical, introspective, and poetic insights. ​

After Truth – Lin Chang-Rong's Creative Discourse

在 21 世紀這個世代,藝術創作及設計領域已經越來越多元化,新的創作已不再只是探討技法上問題,或者寫實抽象等表現這種本身的問題,而是在文化的提升、社會價值觀的認知及觀念上的問題探討。《「真實之後─林昶戎創作論述​》其所論述的創作觀念與內涵相當新穎、豐富,實為一本不可多得的優良研究著作。
《ISBN 978-986-04-9988-9​》
In the 21st century, the fields of art creation and design have become increasingly diversified. New creations no longer just explore technical issues or express traditional themes like realism or abstraction. Instead, they address cultural enhancement, the recognition of social values, and the exploration of conceptual ideas. "After Truth – Lin Chang-Rong's Creative Discourse" presents novel and rich creative concepts and insights, making it a rare and valuable research work.​

Disordered Void – Lin Chang-Rong Solo Exhibition Catalog

《失序的空白​》有別於一般陶藝作品在燒成之前細心呵護深怕有裂痕或失敗，他反而將未燒的作品放置於大自然當中，任憑雨水淋濕、摧毀、植物穿透、野鳥啃食，這都是他創作陶藝的方式，並且作品具社會批判，以自然界的各種媒介作為創作的元素，觀眾參與也變成作品的一部分。​《ISBN 978-986-04-9885-1​》
"Disordered Void" differs from typical ceramic works that are carefully protected before firing to avoid cracks or failures. Instead, Lin places unfired works in nature, allowing rain to wet, destroy, and plants to penetrate, with wild birds pecking at them. This approach is part of his ceramic creative method, with the works carrying social critique and using various natural elements as creative mediums. Audience participation becomes part of the work.

After Truth – Lin Chang-Rong Solo Exhibition Catalog

透過自然媒材與多種工藝表現的整合運用，探索當代人類生活；藉由獨具識別性的符號及視覺意象，展示「存在」的複雜面向。本次個展喚起參觀者對生活、生態以及環境議題的反思，期引發觀者判斷事件的真，免於跟隨；探討具批判、自省、詩意等思維與啟示。生活空間是巨大的展場，各種符號是活動展場的即興創作；如觀念藝術家李維特（Sol LeWitt）所說，作品沒有到最後呈現時，連藝術家也不知道結果的面貌如何。在大自然、動物、人物等共同創作下，「真實之後─林昶戎個展」顛覆傳統陶藝，以嶄新的表現手法，將藝術帶入哲學思辨的領域。​《ISBN 978-986-04-9884-4​》
Through the integration of natural materials and various craft expressions, this exhibition explores contemporary human life. Using distinctive symbols and visual imagery, it presents the complex aspects of "existence." The exhibition stimulates reflections on life, ecology, and environmental issues, hoping to provoke viewers to judge the truth of events and avoid blindly following. It explores critical, introspective, and poetic thinking and insights. The living space is a vast exhibition hall, where various symbols serve as impromptu creations in the active exhibition space. As conceptual artist Sol LeWitt once said, the final result of a work cannot be known until it is presented. Created in collaboration with nature, animals, and people, "After Truth – Lin Chang-Rong Solo Exhibition" subverts traditional ceramics, bringing art into the realm of philosophical reflection.​

Harmony and the Purest Essence – Lin Chang-Rong’s Creative Self-Description

創作主要在於自身投影的真實空間所帶給我的思考：從人類世界的高度文明卻充滿焦慮、心靈空虛；世界生態系統受到危害，人類與自然不再和平。現代的人們脫離了過去的生活法則，忘了如何順應自然秩序、如何與大地共存，大量的資訊與科學精神無法解決人類日益枯竭的性靈，人類也是自然界的一員，必須回頭檢視、分析，重組自身的幻覺思考、抽取事物的最本質。《​ISBN 978-957-41-5334-3​》
The essence of the creation lies in the real space projected by myself, which provokes thoughts: from the highly civilized yet anxious and spiritually empty human world; to the harm done to the global ecosystem, where humanity and nature are no longer at peace. Modern people have deviated from past life rules, forgetting how to align with the natural order and coexist with the Earth. The vast amount of information and scientific spirit cannot solve the spiritual depletion of humanity. Humans are also part of nature and must return to reassess and analyze, reconstructing their illusionary thoughts and extracting the most fundamental essence of things. ​