In forsaken, Jinayo Lin produces beautiful minimalist landscapes using masterful line and dash work created entirely in p5js. As in his previous well-received drop titled Alley, Lin uses the power of stark rendering to evoke a feeling of nostalgic movement through an alienated realm.
The collection comprises 150 editions with just two features: Color Mode (10) and Object Mode (17). That doesn’t sound like a lot, but it fills the collection so well that each piece feels unique whilst obviously belonging to the collection.
The palettes perfectly capture different times of the day, and combined with the objects on the shoreline, they stir very different emotions in me. Notably, forsaken #121 depicts the solace and loneliness of a single house viewed from a distance.
In contrast, forsaken #65 recalls the warmth and togetherness of the tightly-knit religious communities of old. The bright blue shown here with the frosty-looking rooftops is the rarest in the collection, with only three iterations in the entire collection carrying the trait.
Jinyao Lin’s use of kinetic motion to render facets of daily life normally viewed as static — such as homes arranged in an assumed-to-be-permanent town formation — reminds us that everything is always in a process of life’s movements. Formation, decay, and even death are ever-present dynamics of each moment hidden by society’s quotidian rhythms, and Lin’s work helps us to remember that nothing stands still.