Born in 1939, LIN Hsin-yueh has been making art for more than 50 years. Lin’s artistic path resonates with his personal life, and the formation and evolution of his style is deeply related to the public’s experiences in different times and the historical circumstances in Taiwan. Lin took a realistic approach from the late 1960s through to the mid 1980s. Afterwards, he turned from surrealism to realism and depicted Taiwan as an island of beautiful wilderness. It should be noted that his surrealistic approach did not decline or vanish. It only became indistinct, converging with the realistic style. Lin also uses history-reflective figures to discuss the construction of subjectivity Since 2000, Lin has rarely made surrealistic art. Yet Phantoms Through a Dead Forest (2006) is one such example, and it is full of the artist’s reflections on history. The broken, withered trees suggest deep worries. They carry strong psychological projection and much contagious energy, as if admonishing and criticizing the world at once. Looking at its signifiers, the painting is an extension of Black Sun (1989) and The Period of Martial Law (1996) in terms of the topic it presents. Unlike the two paintings which are characterized by an imposing black sun, in this dead forest where no human traces may be found, although the indomitable, life-annihilating “dark power” still exists, the shape of the sun - a waning moon - suggests it is on the decline. The yellow and brown colors, in fine changing shades, also give a sense of warmth and liveliness to this otherwise cold painting. What’s more, the trees seem to stretch themselves to the right, and this makes another important signifier. Restless yet hopeful, the trees seem to struggle for survival on a lifeless land. Lastly, deserted and isolation have been the themes through which Lin observes his own soul and the Taiwan society. Interestingly, this artwork shows that he seeks self-healing instead of indulging in harm, while examining pain. It also explains the artist’s thoughts and expectations of society at the time, in addition to making art.