MINDSCAPE IN FABRIC｜ 布山水 林雨蓓 Rain Lin 芬兰个展
布山水
MINDSCAPE IN FABRIC
林雨蓓 Rain Lin
芬兰个展
Solo Exhibition
欧洲 & 中国 巡展
Europe & China Touring Exhibition
艺术家林雨蓓RainLin芬兰个展《MINDSCAPE IN FABRIC｜布山水》作为欧洲&中国巡展首展在芬兰开幕。展览呈现了艺术家最新的绘画创作，以织物、拼贴与绘画相融合的方式，探索记忆、时间与自然之间交织生成的心象空间。
林雨蓓RainLin曾创立原创服装品牌“菊语·Meaning”，在长达十五年的设计实践中积累了深厚的材料经验。本次展览中，她将多年珍藏的织物样本融入绘画作品，使布料从服装材料转化为承载记忆、时间与生命经验的艺术媒介。
林雨蓓RainLin 定居在芬兰，当地自然环境中的宁静、辽阔与光影变化启发了她对“山水”的重新思考。在她的作品中，山水不再是具体景观的再现，而是一种由记忆、感知与情感构成的精神空间。通过织物与山水意象的交织，作品构建出连接身体、记忆与自然的视觉场域，展现了艺术家跨越时装设计与当代绘画领域的独特探索与表达。
Artist Rain Lin’s solo exhibition MINDSCAPE IN FABRIC | 布山水 opened in Finland as the first stop of its Europe and China touring program.
The exhibition presents the artist’s latest paintings,which integrate fabric,collage,and painting to explore a “mindscape” formed through the interweaving of memory, time, and nature.
Rain Lin is the founder of the original fashion label “Meaning”. Through fifteen years of fashion design practice, she developed a profound understanding of materials. In this exhibition, she incorporates preserved fabric samples from her design career into her paintings, transforming textiles from clothing materials into artistic mediums carrying memory, time, and lived experience.
Based in Finland, Rain Lin draws inspiration from the tranquility, vastness, and changing light of the Nordic landscape.
Her works reinterpret shanshui not as the representation of a specific scenery, but as a spiritual space shaped by memory, perception, and emotion. Through the interplay of fabric and landscape imagery, the exhibition creates a visual realm connecting body, memory, and nature, revealing the artist’s unique exploration between fashion design and contemporary painting.
主办方 | ORGANIZER
A+GALLERY
协办方 | CO-ORGANIZER
ANOTHER ART MUSEUM
另一个美术馆
JUSTART SPACE
觀空间
展览开幕 ｜ Opening
13. 06. 2026 / 16:00 -18:00
展览日期 ｜ Dates
13. 06. - 23. 06. 2026
地点｜Location
芬兰，赫尔辛基，Capellan Puistotie 19号
Capellan Puistotie 19, Helsinki, Finland
本次展览的作品将于7月25日--10月31日在
广州另一个美术馆 展出
The works from this exhibition will also be exhibited at ANOTHER ART MUSEUM in Guangzhou from July 25 to October 31.
展览前言
林雨蓓Rain Lin 的
《布山水｜MINDSCAPE IN FABRIC》
____ Riikka Haapalainen
林雨蓓Rain Lin的工作室里，绘画作品几乎占据了整个空间。它们倚靠在墙边，静置于画架、架台与层架之上。林雨蓓Rain Lin告诉我，这些只是其中一部分，更多作品被收藏在别处。如此丰沛的数量，让这一系列作品所具有的连续性与整体性自然浮现。它们没有独立的标题，而更像是一条持续展开的视觉与绘画脉络——共同汇聚为《布山水｜MINDSCAPE IN FABRIC》。
这一系列的标题本身，提供了一条进入作品的路径。它将作品与悠久的山水画传统建立联系，同时又带有现代主义的精神转向。
然而,《布山水｜MINDSCAPE IN FABRIC》并非文艺复兴绘画意义上作为“自然之窗”的风景再现。它并不试图以写实方式复制外部世界，而是转向更为内在、主观的领域，将观者引向一种暧昧而诗意的空间——一种心灵的风景，一种由思想、记忆与想象共同生成的精神景观。
进入这些由绘画唤起的诗性空间，可以拥有多种方式与不同路径。它们仿佛是一组失去明确方向的地图，不负责指引，而邀请观看者停留、游移，并在其中寻找属于自己的感知经验。
在这一系列作品中，观看的视角始终处于流动状态。艺术家避免使用传统中心透视所建立的秩序与等级，因为中心透视往往限定观看者的位置，也规定了视觉的方向。而在这些心象风景中，观看不再是一种被安排的行为，观者可以自由地移动目光，感受画面中的形态、肌理与材料质感，追随笔触的流动，探索每一个细微而开放的视觉线索。
林雨蓓Rain Lin 深知油画是一种需要时间陪伴的媒介。颜料需要等待，一层薄薄的色彩必须经过干燥，才能迎接下一层覆盖。她珍视这种缓慢的过程，因为每一次叠加，都使画面获得更深的色彩层次与更加丰富的生命感。
这一系列作品中朦胧、柔和而富有光感的色彩，被融入画布的织物碎片赋予了浮雕般的触觉维度。这些经过揉皱、展开，并最终与油彩融为一体的布料，承载着艺术家的个人经历——它们连接着林雨蓓Rain Lin曾作为服装设计师在中国创作与生活的岁月。
这些织物样本也使作品进入法国艺术家让·杜布菲 Jean Dubuffet于20世纪50年代提出的“拼贴组合”（assemblage）艺术语境。在这一艺术实践中，现实中的材料被重新引入绘画结构，获得新的意义。在林雨蓓Rain Lin的作品中，布料不再只是被使用的物质，而成为心象风景的一部分。它们构筑出具体而诗性的空间，让视觉经验与物质记忆彼此交织。
法国哲学家加斯东·巴什拉 Gaston Bachelard曾指出，诗性的图像始终拥有自身的物质性。对于物质的凝视，能够开启超越物质本身的想象。因此，在林雨蓓Rain Lin开始描绘这些心象风景之前，她或许已经在精神中构筑了它们的物质形态：色彩的流动、空间的层次、织物碎片的重量与体积——直到这些想象逐渐脱离现实对象，成为拥有自身生命力的艺术存在。
山水绘画拥有悠久的传统，它不仅描绘自然，也帮助人们理解自身与世界之间的关系。林雨蓓Rain Lin 谈到，在她的创作中，在芬兰自然中的长期行走体验、北欧自然的寂静、中国文化传统以及个人生命经验彼此交汇。《布山水｜MINDSCAPE IN FABRIC》正是在这些不同文化经验与自然感知的交汇之中，构建出艺术家独有的精神景观。它并不直接描绘某种具体景象，而是在含蓄与开放之中，让这些经验转化为一种内在的视觉语言。
这些心灵中的风景自由漂浮、展开，并逐渐生成自身的形态。它们并不对应任何真实存在的地点，却承载着比现实风景更深层的精神经验。它们的美并非明确、简单或可以被轻易归类，而是在不断生成与流动中保持神秘。
在林雨蓓Rain Lin 的工作室里，这些作品彼此回应，以丰富的色彩与材料语言展开无声的对话。而当它们进入展览空间，又重新组合成新的整体、新的观看关系，最终形成一个不断变化、持续生长的精神景观——《布山水｜MINDSCAPE IN FABRIC》。
Riikka Haapalainen
芬兰著名艺术评论家与策展人，她曾任职于芬兰国家美术馆（Finnish National Gallery）,在阿黛浓国家美术馆（Ateneum Art Museum）、奇亚斯玛当代艺术博物馆（Kiasma Museum of Contemporary Art）以及西内布吕科夫艺术博物馆（Sinebrychoff Art Museum）从事学术研究工作。她还曾担任奇亚斯玛当代艺术博物馆（Kiasma Museum of Contemporary Art）教育部门负责人（Head of Education），是芬兰当代艺术领域具有重要影响力的评论家之一。
Exhibition Preface
Rain Lin’s
MINDSCAPE IN FABRIC
_____Riikka Haapalainen
There are a lot of paintings. They fill the entire studio space, leaning against the walls, resting on racks and shelves. Rain Lin tells that there are even more artworks; the others are stored elsewhere. The abundant number of paintings makes their serial nature evident, as does the fact that they lack individual titles. They are manifestations of a visual and painterly continuum:
MINDSCAPE IN FABRIC .
The title of the series offers one possible clue to their reading. Through the title, for example,they connect to the tradition of landscape painting, albeit with a slight modernist twist.
MINDSCAPE IN FABRIC series do not serve as “windows to nature” in the manner of Renaissance paintings; they make no attempt to naturalistically represent the surrounding world. Being more subjective, they take the viewer to more ambiguous and poetic scenes: to mental landscapes; to poetic thinking and imagination.
One can enter this poetic imagination evoked by the paintings in various ways and from multiple angles. For example, the series can be viewed as a collection of inoperative maps that rather disorient than guide. They invite you to stay.
The perspective in the series floats, which also allows multiple ways of reading. The use of central perspective would have created hierarchical structures between the painterly elements and pictorial subjects. It would also have reduced the viewer's perspective to a single viewing position. With these mental landscapes, the viewer is free to make their own decisions about the ways and manners at which their gaze moves across the painted surfaces, about how to observe the forms and material qualities of the artworks, and about which brushstrokes and other elements to follow.
Rain Lin knows that oil colour is a slow working partner. One must wait a long time, allowing a thin layer of paint to dry before adding a new one. She finds this waiting rewarding: the more layers are added, the richer the colours of the painting become.
The misty,softly luminous colour palette of this series is given a relief-like texture by fabric patches that have been crumpled, spread out, and painted into the canvas. They are concrete reminders of Rain Lin’s personal history, from the time when she worked as a fashion designer in China. The fabric samples invite us to examine the series through the notion of assemblage developed by the French artist Jean Dubuffet in the 1950s. In assemblages, various pre-existing materials are incorporated into the structure of the painting. In Rain Lin’s paintings, these fabric samples covered in oil paint act as elements of mindscape.
They create materialised spaces and poetic structures for the eye to grasp.
The French philosopher Gaston Bachelard has described how poetic images always possess their own materiality.
According to him, contemplating matters of materiality encourages imagination that is not constrained by the materiality underpinning those forms.Thus,even before Rain Lin began painting her mental landscapes, she must have imagined their material aspects: the colour fields and dynamics, the volumes of the fabric swatches—until the mental landscapes had detached themselves into their own agencies.
The long tradition of landscape painting has generated meaningful ways in which individuals have been able to situate and contextualize themselves as part of the world. Rain Lin also describes how her long walks, Finnish nature and silence are incorporated into her paintings alongside Chinese cultural heritage. Mindscape in Fabric series materialises the artist's position in relation to these different influences—though these influences are depicted in an ambiguous manner, without explicit references.
Landscapes of the mind float, spread out, and take shape without a direct or clearly defined connection to any actual landscapes. Their beauty is neither unambiguous nor simplistic: it eludes capture. It also eludes words and categorization. In Rain Lin’s studio, the paintings speak and communicate with one another in a manner that is rich and full of colour.
In the exhibition installations,they reorganize themselves into new wholes and modes of reading, into a new kind of MINDSCAPE IN FABRIC.
_____ Riikka Haapalainen
Riikka Haapalainen is a distinguished Finnish art critic and curator. She has worked at the Finnish National Gallery, conducting scholarly research at the Ateneum Art Museum, the Kiasma Museum of Contemporary Art, and the Sinebrychoff Art Museum. She also served as Head of Education at the Kiasma Museum of Contemporary Art and is recognized as one of the influential art critics in Finland’s contemporary art field.
A+Gallery 画廊
开幕现场 | Opening Scene
展览空间 | Exhibition Space
艺术家ARTISTS
《布山水｜MINDSCAPE IN FABRIC》 创作理念
林雨蓓 Rain Lin
我曾在广州美术学院求学期间，在广州创立并经营了一个自主设计师服装品牌“菊语 • Meaning”。服装设计曾是我理解世界与表达自我的重要方式，在布料、剪裁与身体之间，我建立起一种属于自己的语言。在移居芬兰后，我仍持续经营了很长一段时间。后来，我逐渐结束了在中国的服装公司业务。这个品牌的创立与成长，贯穿了我十五年的创作与生活经验。
我将多年保留下来的服装设计样本寄往芬兰。这些曾属于服装艺术实践的材料，如今进入我的绘画创作之中，成为连接过去与当下的媒介，使我的艺术生命从服装自然延续至绘画。
这些被保留下来的服装设计样本，承载着太多记忆与时间的痕迹，也记录着我艺术生命一路走来的历程。它们见证了我在创作中的热情、探索、挣扎与成长，也陪伴我经历人生不同阶段的变化。对我而言，它们不仅仅是设计遗留的物件，更像是自己的孩子，凝聚着情感、时间与生命经验。因此，当我再次触摸这些布料时，它们不只是材料，而像是一种重新开始的对话，让过去与现在在创作中重新相遇。
此次展览以《布山水｜MINDSCAPE IN FABRIC》为主题。我尝试以布料作为绘画创作的重要媒介，将材料本身的质感与中国山水精神相结合。在我的理解中，山水并不仅仅是自然景观，而是一种精神空间与心灵映照；布料也不仅仅是一种物质材料，而是承载记忆、时间、情感与生命经验的载体。我希望借由布的肌理、层次与痕迹，去重新理解与表达中国山水中“写意”的精神，并通过当代艺术语言，创造一种属于个人经验与内在情感的“心象山水”。
之所以选择“山水”作为创作主题，一方面，中国山水中关于自然、精神与心境的表达始终吸引着我；另一方面，也源于我在芬兰的生活。芬兰自然景观中的空灵、宁静与辽阔，也不断激发着我的创作感受。艺术始终来源于生活。居住在芬兰这些年，自然给予了我持续而深刻的感动。这里广阔而宁静的湖泊、森林、光线与四季变化，以及自然景观中那种空灵、安静而充满诗意的状态，给予了我强烈的创作灵感。芬兰自然山水中的辽阔与留白，让我重新理解“山水”不仅是景观，更是一种内在精神的投射与感知。它的宁静、自由与沉静，也深深影响着我的观看方式与绘画表达。因此，我希望将中国山水的文化精神与芬兰自然带给我的真实感受融合在一起，使作品既带有东方山水的诗意，也承载着当下生活经验中的情绪与感知。
我的绘画深受中国传统写意精神影响。我喜爱中国水墨与国画中的意境表达、流畅自由的线条，以及奔放有力的笔触，它们蕴含着一种超越客观描绘的精神性与生命力。同时，我也深受西方绘画影响，喜欢其中明亮、感性而富有情绪张力的色彩表达，并对表现主义怀有深厚的热爱。我欣赏表现主义中那种淋漓尽致的力量——情感不被压抑，而是通过笔触、色彩与形式被直接释放，使作品呈现出真诚、自由与强烈的生命感。
因此，我希望在创作中融合东方写意的诗性与精神、西方绘画的色彩感受，以及表现主义自由而强烈的表达力量，使作品既保有东方审美中的留白、气韵与流动感，也具有当代绘画鲜活、感性与充满张力的视觉语言。我倾向于以书写性、抽象性与涂鸦式的方式进行表达，通过自由的线条、笔触与色彩，让画面在秩序与即兴之间生成一种富有情绪与生命感的状态。同时，我也持续尝试以创新方式探索材料与媒介的可能性，用当代艺术语言去表达内在经验与精神世界，这也是我对绘画艺术不断追求与向往的方向。
——在《布山水｜MINDSCAPE IN FABRIC》中，山水不只是风景，而是一种精神空间；布也不只是材料，而成为记忆、时间与生命经验的载体。
MINDSCAPE IN FABRIC
Artist Statement
_____ Rain Lin
During my studies at Guangzhou Academy of Fine Arts, I founded and ran an independent designer fashion brand in Guangzhou called "JuYu • Meaning". Fashion design was once an important way for me to understand the world and express myself. Through fabric, tailoring, and the body, I developed my own language. After moving to Finland, I continued to run the brand for many years before gradually closing my fashion business in China. The creation and development of this brand has been intertwined with fifteen years of my artistic practice and personal journey.
I sent to Finland the fashion design samples I had preserved over the years. These materials, once part of my fashion practice, have now entered my painting process, becoming a bridge between past and present and allowing my artistic practice to evolve naturally from fashion into painting.
These preserved design samples carry layers of memory and traces of time. They document my artistic development and bear witness to my passion, exploration, struggles, and growth across different stages of life. To me, they are not simply remnants of design work; they feel almost like my children, carrying emotion, time, and lived experience. When I touch these fabrics again, they become more than materials—they open a renewed dialogue between past and present through the act of making.
This exhibition, MINDSCAPE IN FABRIC, explores fabric as a central medium in my painting practice, combining the material presence of cloth with the spiritual essence of Chinese landscape painting. In my understanding, landscape is not merely a depiction of nature, but a reflection of the mind and an inner spiritual space. Likewise, fabric is not only a physical material, but also a carrier of memory, time, emotion, and lived experience. Through the textures, layers, and traces of fabric, I seek to reinterpret the spirit of xieyi (freehand expression) in Chinese landscape painting and translate it into a contemporary visual language, creating a “mindscape” rooted in personal experience and inner emotion.
My choice of landscape as a theme comes from two main sources. On one hand, I have always been deeply influenced by the Chinese tradition of expressing nature, spirit, and state of mind through landscape painting. On the other hand, it is also rooted in my life in Finland. Art has always been rooted in life. Living in Finland, I have been continuously moved by nature. The vast lakes, forests, shifting light, and changing seasons, together with the quiet and poetic atmosphere of the landscape, have become an essential source of inspiration for my work. The openness and silence of Nordic nature have helped me understand landscape not only as scenery, but as a projection of inner perception and consciousness. Its calmness, freedom, and stillness have deeply shaped the way I see and paint. I hope to bring together the cultural spirit of Chinese landscape painting and my lived experience in Finland, creating works that hold both Eastern poetic sensibility and the emotional texture of contemporary life.
My painting practice is deeply influenced by the traditional Chinese spirit of xieyi. I am drawn to the expressive qualities of Chinese ink painting and guohua, especially its fluid brushwork and liberated lines, which carry a sense of vitality beyond representation. At the same time, I am strongly influenced by Western painting, particularly its emotional use of colour, and I have a deep appreciation for Expressionism. I am drawn to its intensity, where emotion is not restrained but directly released through brushwork, colour, and form, creating works that feel sincere, free, and full of life force.
In my work, I aim to integrate the poetic and spiritual sensibility of Eastern xieyi, the chromatic sensibility of Western painting,
and the expressive intensity of Expressionism. I want my paintings to hold the openness and rhythm of Eastern aesthetics while embracing the immediacy and emotional tension of contemporary painting.I often work in a gestural, abstract, and almost graffiti-like way, allowing lines, brushstrokes, and colour to unfold freely, existing between control and spontaneity. At the same time, I continue to explore new possibilities of materials and media, using contemporary artistic language to express inner experience and spiritual landscapes—an ongoing direction in my practice.
In MINDSCAPE IN FABRIC, landscape is not merely scenery, but a spiritual space; fabric is not merely material, but a carrier of memory, time, and lived experience.
林雨蓓
Rain Lin
籍贯：中国广东
现定居在芬兰赫尔辛基
自2010年以来，她的作品已在中国、芬兰、比利时、意大利、西班牙、英国和德国展出。
本科毕业于广州美术学院教育系，获学士学位。
服装设计高级研修毕业于广州美术学院工艺系
芬兰赫尔辛基国际艺术家协会会员
Rain Lin
林雨蓓
Born in Guangdong, China.
Now living in Helsinki, Finland.
Since 2010, her artworks have been exhibited in China, Finland, Belgium, Italy, Spain, the UK, and Germany.
Education :
- Graduated from Guangzhou Academy of Fine Arts with a bachelor's degree.
- Graduated from Guangzhou Academy of Fine Arts, Department of Craft, Advanced Training Course of Fashion Design.
Membership:
Helsinki International Artists’ Association, Finland.
近期展览｜Recent Exhibitions
2025年 “2025 魔灯当代艺术博览会”，觀空间 , 广州。
2025 "2025 MOORDN Art Fair ",JUSTART Space, Guangzhou.
2025年 “2025 魔灯当代艺术博览会”，叁岸画廊 , 广州。
2025 "2025 MOORDN Art Fair ",TRESIDE Gallery, Guangzhou.
2025年 “柔光万象”当代艺术展，上海 E Gallery 虹墙画廊, 上海
2025 "Soft Light Myriad Forms ", Contemporary Art Exhibition, E Gallery, Shanghai.
2025年 “2025 艺术厦门-国际艺术博览会”,上海 E Gallery 虹墙画廊 , 厦门。
2025 "2025 Art Amoy International Art Fair ", E Gallery ,Xiamen
2025年 “鱼珠湾美术馆名家作品展”, 鱼珠湾美术馆 , 广州。
2025 "Yuzhuwan Art Museum Masters Exhibition", Yuzhuwan Art Museum, Guangzhou.
2025年 “芳华物语” 双个展， 叁岸画廊 ，顺德。
2025 "FRAGRANCE OF YOUTH" Dual Exhibition, TRESIDE GALLERY. Shunde.
2024年 “绽放 I 花瓣语”油画个展, 深圳赤湾一号艺术中心，深圳。
2024 " BLOSSOMING I PETALS SERIES ", Solo exhibition, Chiwan No.1 Art Center, Shenzhen, China.
2024年 “BLOSSOMING 绽放”油画个展 ，芬兰 A+Gallery 画廊, 赫尔辛基, 芬兰
2024 "BLOSSOMING" Solo exhibition , A+Gallery, Helsinki, Finland.
2023年 “2023 蓝色梦想·国际当代艺术展”，厦门北欧当代艺术中心 ，厦门。
2023 "Dream Of Ocean International Contemporary Art Exhibition", Nordic Contemporary Art Center, Xiamen, China.
2023年 “ H IAA Fest ”，赫 尔 辛 基 国 际 艺 术 家 协 会 年 展 Kaapelitehdas 艺术区 ，赫尔辛基。
2023 "HIAA Fest, Helsinki International Artists Association Annual art Exhibition, Kaapelitehdas Art District, Helsinki, Finland.
2023年 “在所有陌生的地方总有熟悉的月亮”，宋庄艺术节 ，茂·空间美术馆, 北京。
2023 “In all strange places there is always a familiar moon”，Song Zhuang Culture and Arts Festival，Mao Space Art Museum in Beijing，China.
2023年 “站在不同的地方看月亮”，群展 ，戈鲁艺术空间 ，北京。
2023 “Standing in different places and looking at the moon”, group exhibition, Gelu Art Space, Beijing, China.
2023年 “遛狗·观相”，水墨系列双个展 , 广州水墨村美术馆。
2023 "Walking the Dog & Observation", Dual exhibition of Ink Painting Series, Guangzhou Ink Village Art Museum, China.
2022年 “Walking the Dog 遛狗”，水墨系列个展, 德国汉堡大学, 德国。
2022 "Walking the Dog” Ink Series Solo Exhibition,University of Hamburg, Germany.
展览作品
林雨蓓 Rain Lin
布山水｜MINDSCAPE IN FABRIC No.01
2026
100 x 100cm
Fabric; oil on canvas
林雨蓓 Rain Lin
布山水｜MINDSCAPE IN FABRIC No.02
2026
100 x 80cm
Fabric; oil on canvas
林雨蓓 Rain Lin
布山水｜MINDSCAPE IN FABRIC No.05
2026
100 x 80cm
Fabric; oil on canvas
林雨蓓 Rain Lin
布山水｜MINDSCAPE IN FABRIC No.07
2026
120 x 100cm
Fabric; oil on canvas
林雨蓓 Rain Lin
布山水｜MINDSCAPE IN FABRIC No.08
2026
60 x 60cm
Fabric; oil on canvas
林雨蓓 Rain Lin
布山水｜MINDSCAPE IN FABRIC No.09
2026
60 x 60cm
Fabric; oil on canvas
林雨蓓 Rain Lin
布山水｜MINDSCAPE IN FABRIC No.10
2026
100 x 80cm
Fabric; oil on canvas
林雨蓓 Rain Lin
布山水｜MINDSCAPE IN FABRIC No.11
2026
60 x 60cm
Fabric; oil on canvas
林雨蓓 Rain Lin
布山水｜MINDSCAPE IN FABRIC No.12
2026
150 x 100cm
Fabric; oil on canvas
林雨蓓 Rain Lin
布山水｜MINDSCAPE IN FABRIC No.13
2026
D.40cm
Fabric; oil on canvas
林雨蓓 Rain Lin
布山水｜MINDSCAPE IN FABRIC No.14
2026
120 x 100cm
Fabric; oil on canvas
林雨蓓 Rain Lin
布山水｜MINDSCAPE IN FABRIC No.15
2026
D.80cm
Fabric; oil on canvas
林雨蓓 Rain Lin
布山水｜MINDSCAPE IN FABRIC No.16
2026
D.40cm
Fabric; oil on canvas
林雨蓓 Rain Lin
布山水｜MINDSCAPE IN FABRIC No.17
2026
150 x 100cm
Fabric; oil on canvas
林雨蓓 Rain Lin
布山水｜MINDSCAPE IN FABRIC No.18
2026
D.60cm
Fabric; oil on canvas
林雨蓓 Rain Lin
布山水｜MINDSCAPE IN FABRIC No.19
2026
80 x 80cm
Fabric; oil on canvas
林雨蓓 Rain Lin
布山水｜MINDSCAPE IN FABRIC No.20
2026
100 x 80cm
Fabric; oil on canvas
林雨蓓 Rain Lin
布山水｜MINDSCAPE IN FABRIC No.21
2026
80 x 100cm
Fabric; oil on canvas
林雨蓓 Rain Lin
布山水｜MINDSCAPE IN FABRIC No.22
2026
D.40cm
Fabric; oil on canvas
林雨蓓 Rain Lin
布山水｜MINDSCAPE IN FABRIC No.23
2026
80 x 40cm
Fabric; oil on canvas
林雨蓓 Rain Lin
布山水｜MINDSCAPE IN FABRIC No.24
2026
80 x 40cm
Fabric; oil on canvas
林雨蓓 Rain Lin
布山水｜MINDSCAPE IN FABRIC No.25
2026
150 x 100cm
Fabric; oil on canvas
林雨蓓 Rain Lin
布山水｜MINDSCAPE IN FABRIC No.26
2026
80 x 60cm
Fabric; oil on canvas
