林祐聖慣於以視覺、行動、參與式的方式與社會對話。
擅於觀察生活中的細節，找尋隱藏於日常的待探討議題。
從早年《老師沒教的美勞課》即是探詢藝術教育的問題；
《台北捷運女孩觀察日誌》及《非關身體報告書》讓人重新省思外在標準與個人內含之間的符號關聯，並引起媒體報導；
到近年的《公路駐村計畫》則直指藝術機構與藝術家之間的權力關係；
《我的移動農場》系列反應出環境、土地、技術、城鄉等的台灣現況；
《便利商店戒斷協會》突現人們對產業的依賴，試圖讓人反省如何逃脫陷阱；
《Mobile Temple》以台荷歷史為本，企圖以反殖民的方式，侵入並攪亂歐洲主體概念。
林祐聖致力於探討集體性的創作方式，運用在地、日常的物件或形式，
加入荒謬且幽默的概念與符號，引起一般大眾的興趣而靠近，再適度的打開討論的平台，讓議題能持續不斷的衍生。
Lin Yu-Sheng is committed to engaging in visual, performative, and participatory modes of dialogue with society.
He excels at observing the details of everyday life and uncovering hidden topics that await exploration. From his early work, such as "ART LESSON AFTER SCHOOL" which examined issues in art education,
to "GIRLS AT TAIPEI METRO STATIONS" and "OUT OF PHYSICAL REPORT" which prompted people to reconsider the symbolic connections between external standards and personal meaning,
and garnered media attention,
to more recent projects like "CAR ARTISTS VILLAGE" which directly addressed power dynamics between art institutions and artists,
and the "Mobile Farm" series which reflected the current state of Taiwan in terms of environment, land, technology, and urban-rural issues, as well as "24-7-HOLICS ANONYMOUS ASSOCIATION" which highlighted people's dependency on the industry and aimed to provoke reflection on how to escape the traps, and "Mobile Temple" which utilized the Taiwan-Dutch historical context to disrupt and challenge European subjectivity in an anti-colonial manner.
Lin Yu-Sheng is dedicated to exploring collective modes of creation, employing local and everyday objects or forms, incorporating absurd and humorous concepts and symbols to capture the interest of the general public and provide a platform for open discussions that allow issues to continuously evolve.
林祐聖Lin, Yu-Sheng 聯絡資訊
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