当我们谈论林于思创作的时候，根本也就是在探讨界定“新水墨”的可能。
“新水墨”作为一个概念被提出，面对尚未能够确立的学理依据以及喧闹波动的市场反应。这样的外部环境，与林于思近年的思考形成并行与映证的关系。所以，林于思的作品，必将暂时“陷于”只缘身在此山中的境地。
林于思在两个方面的努力可以帮助我们获得进入讨论的途径。画面的叙事性，是其一。
画面的叙事，首先由人物和场景构成。彼此之间的比例，属于传统绘画中人与自然关系的延续，这样的布局、构图，恰恰交代出“新水墨”与传统水墨之间意欲背叛却无法逃离的两难。当然，前提是我们可以假设“新水墨”的终极诉求是形成对水墨既有体系的突破。画面中出现的孤独单薄人物也传递着属于这个纷杂时代的内在的文化信息。
接着，由题目所提供的指向性，生发并强化了林于思作品独到的叙事性。近作题目所用的文字，其实都是我们的旧相识。通过对“天鹅湖”、“野猪林”、“维纳斯的诞生”的“误读”或者转换，以新的组合式图像，与传统的事典、图典建立了互现。他的叙事中，被淡化的历史感与个人化描绘彼此胶着，引诱我们将记忆转化或者抽离成词语，重新组合、使用并产生因人而异的引申意义。读图的享受，在林于思充满智性的实验中找到与传统的上下文关系。
在笔墨追求上，拒绝二元对立是林于思作品的另一显著特质，这一点成为我们观看、讨论的另一途径。
林于思经历了长期的传统笔墨训练，自幼浸染于典型的国画家成长培养“模式”，继而经历美院附中、国画系的学习。对于江河湖海，山峦川岳的描绘，都带有自宋画以来的笔墨意味的熏染。对于凸显深邃清远的意境，运用富有变化的皴法，林于思早期的创作已经证明了他的投入和领悟。
然而他的“新”意义，在于对笔墨效果的丰富。画面用笔的痕迹与色彩的铺垫，共同建立了个人视角的画面感受。在处理丰富的画面色彩感受的同时，用墨、用线的部分交代了艺术家的自如，对传统的“叛逆”部分则是以隐藏的姿态呈现的。林于思的画面善用色彩，明净的色彩与笔墨共同渲染出意境的壮阔，同时具有安详的意味。每一幅作品的处理都以色、墨构成连贯的空间、色彩效果并确立核心的人、物的存在与情绪。
以平和的姿态解决破与立的两难，这样贡献突破，在确立“新水墨”美学主张的人群里，林于思必是卓然独立的一位。
Discussing the art of Lin Yusi is essentially debating the possibility of Neo-Ink.
Neo-Ink, as an emerging concept, has not yet found its theoretical grounds but already spurred overwhelming reactions of keen interest in the market. This external environment happens to be in a parallel reflective position with Lin Yusi’s recent contemplations, also serving as an illustration. Hence, Lin’s art is destined to be temporarily ‘stuck’ in this awkward situation of being undefined amid an entity with it being a composing element.
Lin’s efforts in two aspects provide us access for further discussion. One of them is the narrative style of his images.
The narrative style is composed of character and scene to begin with, in which the respective proportion between the two is a continuation of the human-nature relation found in traditional Chinese paintings. The composition and placement unveils the paradoxical relation Neo-Ink has with traditional Chinese art, urging to rebel but unable to break loose. This is, of course, presupposing the final goal of Neo-Ink is to make a breakthrough in the standing system of traditional ink. The solitary thin character in his images conveys the inner perplexed cultural connation of our times.
With clues implied in works’ titles, Lin’s narration comes forth and becomes further consolidated. The names of recent works are readily recognized by us. In the “misinterpretation” or transition of the “Swan Lake”, “Wild Boar Forest”, and “Birth of Venus” , new combinations are made in context of old stories and symbolic images, displaying an inter-reflective presentation of the two. In his narration, the diluted historical sense and individualized depiction adhere to each other, evoking us to transform our memories into words or dissociate them and reorganize them into each individual’s extended interpretation. The pleasure in reading his images lies within the artist’s intelligent attempt in exploring the contextual bonds with tradition.
In his pursue of art expression, Lin refuses to be constrained to dualism, and this as another noticeable attribute, provides us the other access to read and discuss his works.
With a long experience being trained in the techniques of traditional Chinese art, Lin Yusi has been brought up in a typical pattern used to cultivate artists of Chinese traditional painting, with further professional instructions in the Affiliated High School of Guangzhou Academy of Fine Arts, and later the Chinese Painting Dpt. of the Guangzhou Academy of Fine Arts. His portrayal of waters and mountains all carries some trace of the styles since the Song Dynast. A rich variation of textual strokes is applied in expressing the distant aloft grounds, disclosing his devotion and comprehension of art, which is already prominent in his earlier stage.
The “Neo” part about his work is his diversified expression of ink. The traces of his strokes and the layers of the colors construct a unique visual impression stemming from an individual perspective. Accompanied with rich layouts of chromatic variations, lines and ink applied on the images well delineates the artist’s mastery. Alongside is the secluded manner of an adverse attitude toward conservative traditions of art. Lin is adept in applying color. The combination of bright color and clear-cut brush strokes of ink delivers a sense of grandeur with a touch of serenity. In every piece of his work, the sequential space constructed via color and ink and the impression rendered in color effects together set the tone for the character, object and mood of the image.
Lin poses a rather peaceful manner in resolving the dilemma of breaking and constructing, and in such a manner, contributes his breakthrough, predestining his unique position standing out among the founders of Neo-Ink.