生於香港，台灣國立藝專(今國立台灣藝術大學)雕塑科畢業後，至義大利著名的世界雕塑中心卡拉拉(Carrara)石礦區亨魯(Henraux)石雕工作室從事石雕創作。在工作室期間，黎志文有機會接觸到如亨利‧摩爾(Henry Moore)、野口勇(Isamu Noguchi)、彼得‧卡耶拿(Pietro Cascella)等國際著名的藝術家。經歷四年創作後，他獲美國雕塑家羅伯‧魯辛(Robert Russin)研究金，至美國懷俄明州工作，並於1980年取得美國懷俄明大學雕塑碩士學位。求學期間並與荷蘭籍妻子保琳共結連理，於1982年取得荷蘭視覺藝術機構之職業藝術家資格至荷蘭創作生活，於1984年回台灣任教於國立藝術學院(今國立台北藝術大學)至今。歷經香港、義大利、美國、荷蘭再回到台灣，豐富的閱歷與吸收了多元思潮的審美觀，但他很早就選擇回歸東方精神。
Born in Hong Kong in 1949, Lai graduated from the sculpture department of National Taiwan Academy of Arts. He later travelled to Italy where he practiced sculpture at Henraux S.p.A., Carrara, which is famous for its quarries and sculptures. During this time, Lai had the opportunity to work alongside Henry Moore, Isamu Noguchi, and Pietro Cascella. After four years in Italy, he received a fellowship to further his education in Wyoming under the sculptor, Robert Russin. And, in 1980, he received his M.F.A degree in sculpture from University of Wyoming. During this period, he married Paulien. In 1982, he was admitted as a member of the Beeldende Kunstenaars Regeling in the Netherlands. Lai returned to Taiwan in 1984 upon invitation to hold a teaching position at the National Institute of the Arts (now, Taipei National University of the Arts), where he still teaches today. Having experienced life in Hong Kong, Italy, the United States, the Netherlands, and Taiwan, Lai was able to foster a rich and diverse perspective on aestheticism. Nevertheless, it was always clear to Lai that he would return to embrace the Eastern spirit.
Lai declares, “Over the past thirty years in Taiwan, I have been constantly exploring and developing an artistic vocabulary. This echoes the evolution and depth of mankind's harmonic coexistence with nature. The roots for this resulting sculptural vocabulary can be traced to the six ways of constructing Chinese characters, whose forms echo the cultural virtues of an ancient tradition and reflect the essence of Eastern thought. Through such an approach, I contemplate Eastern philosophies regarding the relationships amongst mankind and nature. And, throughout the creative process, I use pictographs and meanings similar to those found in Chinese characters to express a message that transcends culture and communicates universal values.’