Lin’s works have obvious photographic angle. This has to do with her material obtained from cameras. In her earlier works which focused on plants, you can close-ups on various plants. A corner in the flower bushes, for example, or the end of a branch, these is never a complete scene in the imagery, no horizon nor linear prospective for space structure. In the current works, the photographic materials are acquired from daily lives, mostly indoor. The figures in paintings usually concentrate on staring at mobile phones and tablets, other than that, there is no other arrangement of narrative or imagery structure. Therefore, there is always incomplete and pieces of shape or object in Lin’s works, incomplete, unlike the stage setting. They are pretended three dimensional elements compressed in a two dimensional frame. The complete timeline in classical narrative is shuttered into pieces of life. This concept of shuttered time is influenced by the modern society. The “Modernism” in 1863, as Charles Baudelaire said, “ the ephemeral, the fugitive, the contingent” would appear to be stronger in the 21 century with the data explosion and internet. , Lin’s works present remarkable life style of today. It might be called some kind of genre painting in the 21st century, composed by the contemporary life intertwined with painting, photography, and monitor and behind the scene.