The following extracts penned by 2 art historians/critics/ explain

"The Man & His Universe, begun in 1982, was suceeded in 1984 New Waves (1984) which logically evolved into Light Waves in the following year. Her focus on ever narrower and more precise problems has required ever subtler controil over her media. In order to emphasie the extraordinary variations of expressions with her highly indidualized vocabulaies Lin has frequently repeated a given precedure in several paintings or prints. The resultant series are held together by their lingusitic unity. By modulating the paintings; color tones and markings or the prints' transparency, the artist urges the viewer to examine the different modes and languages of each series. Her prime concern is the relation of the work of art to the viewer."

Constance Sheares
Curator of Art
National Museum, Singapore

"In the series that emerged in 1982 as Man & His Universe, Lin disclosed her interests in the elements -- especially water and air -- which gradually assumed the intensity of an obsession. New Waves (1984) and Light Waves (1985) are exhibitions which further manifested this tendency. Equally obsessive was her preference for oil as the dominant, near-exclusive medium of painting. For that mater, an analogy between water and oil, implausible as this might at first appear, became an enduring goal throughout her explorations of the medium and her attempts to realise distinct images.

Water and sky are implied in many pictures and in viewing them we are induced to read them as interacting and fusing in a variety of ways."

Lin is extemely conscious and desirous of such provocative engagements.

T K Sabapathy
Art Historian
Senior Lecturer, School of Architecture
National University of Singapore

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