#李昕 #牙醫藝術家 #情慾 #The Last Supper
【為愛，可以殉道的】
「情慾」，是我們慣常與李昕連結的意象。她是台灣當代少數以情慾作畫的女畫家。
她把身心靈當成一個部落去探險。內心藏有巨大黑洞，卻同時馴養了一座活火山，禁錮許久的能量，冶煉成愛的硫磺礦。為了愛，她嫁給認識一星期的男人；為了愛，她辭了牙醫工作跟隨一個男舞者去跳舞….，為了愛，她可以跨越禁區，為了愛，她是可以殉情的，一如李安「色戒」裡的女主角。
她形容自己是一個與地球格格不入的外星人，地球太多框架，太多沒有意義的流言蜚語，而她在地球的溝壑，珍藏著外星人的國籍，甩開拘謹的文化母體，打造專屬於她的靈慾畫室。
早期，她像是野性的供奉者，用誇張戲謔的手法，畫出兩性不對等下情慾的扭曲與變態。近期，她將源源不斷的情愛經驗，輸向靈肉合一的屯墾區；用「昕」的獨特視野，尋找情慾文化的質地與尊嚴。在指涉情慾魂魄最自然與深沉的部分，她走向了隱喻的畫風，像潛海獵人用身體與熟悉的水域，讓人窺見她生活裡的情和愛，慾及念，靈與性。
從1992年開始，不斷的以情慾為主題作畫，如今到了暮年，李昕還是會蹲在自己愛的囚籠裏，跟著一群五六十歲的男女，道說自己還在追尋靈肉合一的愛，讓大家訕笑成一團。
而她靠著感官轉化情慾的開拓，知道在情愛裡有不同的細節可以試探；也深知情慾永遠有它迷人的猶疑性，甚至漸漸發現，靈性的昇華跟身體覺察與極致的愛慾，有緊密的連接。而靈慾擺盪在「天堂」與「地獄」之間，她用手擒色的願力，或誇張戲謔，或從容不迫，或隱晦激情，或向晚昂揚，收放之間自有主張。她在畫布上刷成濃冽與淡疏色塊，既綿延文明的縱情，也撲向原始性愛的對話。
她說：「愛情是我的信仰，雖然在裡面不斷受傷，我仍然相信愛情，相信有靈肉合一的愛情。」她用藝術獵人的生命來回應自己豐盛的靈慾文化探索。
李昕把與情愛世界耳鬢廝磨的痛楚與得意，視經典如遇珍饈之饗宴；視靈肉如天人合一之獻祭。一段段愛與慾的華麗冒險，一幅幅情與慾的溫柔撞擊；無論愛有多深，傷有多痛，都不會忘記時時刻刻回首看最初的自己；她畫中扭曲的身體，都道盡了 "渴望靈肉合一的愛情”。
"Lust" is an image we commonly associate with Lee Shin. She is one of the few contemporary Taiwanese female painters who uses lust as a subject in her art.
Her vitality and painting style teach us to perceive the texture and essence of lust. Through her narrative of desire, we come to understand; amidst the drifting detachment of human relationships, we find solace; and in the clash between heaven and hell, we hear a harmonious resonance...
Years later, Lee Shin came to realize that those twisted, floating bodies in her paintings were manifestations of her unceasing longing for the love of both spirit and flesh.
《男與女.》(Man and women)
油畫。116.5×91.0cm，50F，1992
In the compressed space of a 1990s car — steering wheel and handbrake intact — limbs twist, push, rise.
We can no longer tell whose leg is whose, who is on top, who is beneath. But it doesn't matter.
What matters is the fusion — the intimate, tangled choreography of two bodies becoming one blurred entity.
This is not a scene of clarity, but of combustion.
Masculine or feminine? Control or surrender?
It’s all layered in flesh, rhythm, and paint.
《情人lover.》
油畫。162x130cm ，100F，1992
"Lover" is a visual fable about gender, power, and the architecture of emotion.
At its core stands a grotesquely exaggerated phallus—a totem of power, naked and absurd. The man’s body is bulging with exaggerated muscle, yet his leg bears a stitched patch, hinting at a masculinity that is not whole, but crudely mended. His head is comically small, and a black heart stains his chest—a vessel of imbalance, immaturity, and shadow.
Clinging to his leg is a faceless, pink, childlike woman—miniature in scale, arrested in development, still curled within the fantasy of patriarchy. She is not a person but a figment of desire—a snake of longing, a wisp of dependency.
This is not a romantic painting. It is a satirical theater of flesh. Through distortion and hyperbole, the artist exposes the paradox of power: the man’s physical dominance is paired with spiritual deficiency; the woman’s submission with spectral resistance. What emerges is a tangled anatomy of intimacy—where love, domination, and need blur into one another, and where desire devours both subject and self.
In this textured, visceral oil painting, a woman artist takes the brush—and the gaze—into her own hands. The male model’s body twists beneath her stroke, suggesting a quiet tension of desire and dominance. The roles are reversed; she creates, he yields
《女畫家與模特兒1 Woman Artist and Model No.1 .》
油畫 。145.5×97.0cm , 80P 1997
《女畫家與模特兒2》
Woman Artist and Male Model No.2
Oil on canvas｜116.5 × 72.5 cm (50M)｜1995
A vivid and unapologetically sensual portrayal of artistic power.
Though small in size, the woman sits astride the man’s exaggerated phallus—not as a submissive muse, but as a creator wielding her brush.
There is no golden halo—her authority comes not from divinity, but from authorship.
This piece subverts traditional gendered roles: the male body becomes the passive terrain, while the female figure, armed with her tools, claims both intimacy and control.
Rendered in thick impasto, every stroke pulses with raw texture, dominance, and desire.
《#最後晚餐》 (#The Last Supper).
油畫 。 194.0×112.0cm 120P , 1995
The Last Supper: A Farewell Dinner with Twelve Exes
Oil on canvas｜194.0 × 112.0 cm (120P)｜1995A bold feminist parody that reclaims and reconfigures Leonardo da Vinci’s iconic Last Supper.
At the center stands not Christ, but a faceless woman，the artist herself, or perhaps every woman who remembers too much.
Seated around her are twelve ex-lovers, depicted as boyish, impulsive, haloed figures.
Abov
Below the table: a grotesque mirror，each man raises his phallus like a childish weapon. All but one. His hangs limp.
He is Judas，not because he betrayed with silver, but because he faked affection.
This work appropriates sacred imagery and turns it into a tableau of female authorship, erotic irony, and emotional reckoning.
Thick, swirling impasto lends flesh to memory and myth alike.
Here, the last supper is no sacrifice—it’s a final, unrepentant laugh.
這是一幅大膽的女性主義戲仿，挪用並重構了達文西的經典之作《最後的晚餐》。
站在中央的不是耶穌，而是一位無面孔的女人，她可能是藝術家本身，也可能是每一位記憶太多的女人。
她邀請了十二位前任情人共進晚餐。
他們如頑童般圍坐，披著聖徒的光環，卻露出慾望與不安。
桌上是儀式性的酒與食物；桌下，十二人如孩童般舉起陽具，炫耀、賣弄，唯獨一人垂下，那是猶大，不是因為他拿了銀幣，而是因為他假裝愛過。
這幅作品以挪用為武器，將神聖圖像轉化為女性記憶與慾望的場景，帶著諷刺與清算的氣息。
厚重堆疊的筆觸賦予身體與情感同樣的質地。
這一頓晚餐，不是聖潔的殉道，而是一場無悔的盛宴與最後的笑聲。
《女畫家與模特兒3 》
Woman Artist and Model No.3.
油畫。194.0×130.0cm,120F 1995
The Female Dentist and Her Male Patient
Oil on canvas｜116.5 × 91.0 cm (50F)｜1992
Painted by an artist who practiced dentistry for 15 years and held a California dental license, this work transforms lived experience into a visceral psychological tableau. The female dentist towers above, forceful, embodied, almost primal. The male patient lies beneath her, mouth wide open in agony, or perhaps ecstasy—his vulnerability made theatrical, almost erotic. Medical author This is not a clinical space—it’s a battlefield of desire and dread, where the hands that heal also control. Rendered in thick, expressive impasto, every muscle is swollen with symbolic charge. It’s not just a dental visit. It’s a confession. It’s a scream. It’s memory turned myth.
這幅畫出自一位曾執業十五年、擁有美國加州牙醫執照的藝術家之手，將真實的人生經歷轉化為一場直指內心的心理劇場。
女牙醫居高臨下，充滿力量、具體而鮮明，幾乎帶有原始的氣息。
男病人仰躺在下，嘴巴張到極限，是痛苦？還是狂喜？他的脆弱被戲劇化呈現，幾近情色。
這裡不是診療室，而是慾望與恐懼交戰的場域——那雙本該療癒的手，也同時掌控一切。
厚重有力的筆觸堆疊下，每一塊肌肉都腫脹著象徵的力量。
這不只是一次看診，
而是一場告白、
一聲撕裂的尖叫、
一段化為神話的記憶。
地獄之戀Hellish romence
油畫。162x130cm(100F) 1992
《.男人洗頭 Man Washing Hair》
油畫。 91.0×60.5cm， 30M， 1995
《天堂之慾2》(The desire of heaven)
油畫。100.0 × 72.5 cm (40P)，2020
《浪跡天涯1》(Wandering the Ends of the Earth) ，
油畫 ,145.5x89cm , 80M, 2022
《頂住我的顫抖1》(the shiver that runs through my soul)
《男人洗澡 Man Taking Shower》
油畫。 116.5×72.5cm 50M 1995
A sharp yet tender satire on masculinity and its secret obsessions.
The man, rendered in green and coiled like a vine, has stripped off his clothes and ego.
He stands alone in the bathroom, clutching a showerhead and carefully rinsing his oversized phallus，his most prized possession.
It’s comically large, almost ceremonial.
He doesn't flaunt it，he washes it.
Not with pride, but with the anxious care of someone cleaning a fragile relic, as if afraid it might break, or worse, be meaningless.
The penis here is not virile，it is vulnerable. Not power, but pressure.
And beneath it all, a boy who never outgrew the myth.
這是一則銳利又溫柔的諷刺，描寫男性氣概與它隱秘的執念。
畫中的男人被描繪成綠色的身軀，如藤蔓般蜷曲盤繞。他脫去了衣物，也卸下了自我，只剩下赤裸的身體與赤裸的本質。他獨自站在浴室裡，緊握蓮蓬頭，小心翼翼地沖洗著那誇張巨大的陽具——他最珍貴的財產。
那陽具滑稽地巨大，幾近莊嚴儀式般的存在。他不是在炫耀它，而是在洗它。
不是出於自豪，而是以一種焦慮的謹慎，就像在清理一件易碎的聖物，深怕它會破裂，或者更可怕——變得毫無意義。
在這幅畫中，陰莖不再是雄壯的象徵，而是脆弱的符號。它不代表權力，而是一種壓力。
而在這一切的背後，是一個從未真正走出那個「陽具神話」的男孩。
《天堂之慾1》(The desire of heaven)
油畫。116.5×80.0cm (50p) 2020。
Wandering the Ends of the Earth《浪跡天涯1》
Oil on canvas, 145.5×97 cm (80P), 2022 (Wandering the Ends of the Earth)
Two bodies drift across the abstract folds of earth and sky，he, a weathered trunk stretched like a fallen tree; she, a surreal pink figure reaching from the ether above. Between them: distance, memory, gravity，and a fragile invisible thread.
Are they escaping? Searching? Or slowly returning to one another?
Their journey is not heroic. It is tender, primal, mythic.
Together, they wander the ends of the earth，never quite apart, never fully reunited.
我們不是一起出發，卻始終在彼此的軌跡上漂流。 一人化為漂流木，一人化作雲煙。天地之間，我們相望。
《頂住我的顫抖2》(the shiver that runs through my soul)
《頂住我的顫抖3》(The shiver that runs through my soul)
油畫。194.0 × 112.0 cm (120P)，2022
