陆阳出生在 1965 年，7 岁时随父母从江南小城到了中国北方的工业重镇，也就是在那里陆阳开始了他最早的绘画经历，童年时的孤寂情结蓄集了一段他对工业题材绘画的热情不减，同时用作品见证并记录了上个世纪中国北方工业城市的发展与衰落，另外陆阳艺术创作中的另一条脉络就是对中国乡村生活浓墨重彩的真情表达。作为农耕文明的中国乡村几千年历史真真切切地写满了沧桑与悲怆，近 100年的中国乡村发展更是复杂多变，几近固化身份的中国农民饱受战争，瘟疫，社会动乱，政治变革的摧残，陆阳的绘画目光不自觉地投向了这里，他把将近几十年的辛劳实践也定格在了这个现实的风景中。不管陆阳走过乡村还是曾经煤城，也不管他是用写意还是写实的手法都以最真诚朴素的情怀，最现实真切的手法描绘刻画他所关注的底层人物和社会风景。
Lu Yang was born in 1965. At the age of seven, he went with his parents from a small town in the south of the Yangtze River to an important industrial town in northern China. That is where Lu Yang began his earliest painting experience. His childhood loneliness complex has accumulated a section of his enthusiasm for industrial painting. At the same time, his works have witnessed and recorded the development and decline of industrial cities in northern China in the last century, In addition, another thread of Lu Yang's artistic creation is his sincere expression of Chinese rural life. As a farming civilization, the history of Chinese villages for thousands of years is truly full of vicissitudes and sorrows. The development of Chinese villages in the past 100 years is more complex and changeable. Chinese farmers who have almost solidified their identity are suffering from wars, plagues, social unrest, and political changes. Lu Yang unconsciously turned to this place for his painting purpose. He also fixed his hard practice for nearly decades in this realistic landscape. No matter whether Lu Yang walked through the countryside or the coal city, or whether he used freehand brushwork or realism, he portrayed the bottom people and social landscape he cared about with the most sincere and simple feelings and the most realistic way.
逗鸟图 1992 布面油画 170x180cm
然而让我们看到陆阳最终的内心交付确是在对于东方传统精神的不间断的探索以及尽其全力的回归自我心象的努力。从青年时代他第一次去到敦煌，为那里的艺术所感动，并深埋下了这一粒种子，在以后几十年的不断探索追寻艺术实践深耕后发芽生长，在他的艺术作品中发扬出来这样一种东方人特有的意向气质以及本土绘画的写意气派，并升发出全新的艺术个性风貌，这是一种貌似相遇相约的惊奇，也必然达到成熟日臻完美的结果。对于陆阳来说，按照他的艺术实践样貌梳理不应该是这样的行进轨迹，但他近 10 年来的作品确是明明白白地让世人看到了从中散发出来的个性光辉，他用多年的艺术实践证明了他的创作空间正在不断地变幻拓展，这种惊奇让我们根本无法预期到他能够走到哪样一个更高更远的艺术境地。
However, we can see that Lu Yang's ultimate inner delivery is indeed his continuous exploration of the traditional oriental spirit and his efforts to return to his own mental image. He went to Dunhuang for the first time since his youth. He was moved by the art there and deeply planted this seed. After decades of continuous exploration and pursuit of art practice, he sprouted and grew. In his art works, he carried forward such a unique oriental spirit of intent and the freehand style of local painting, and rose to a new artistic personality. It was a surprise that he seemed to meet each other, It is also bound to achieve a mature and increasingly perfect result. For Lu Yang, sorting out according to his artistic practice should not be such a path, but his works in the past 10 years have clearly let the world see the brilliance of personality emanating from them. He has proved that his creative space is constantly changing and expanding with years of artistic practice. This surprise makes it impossible to predict what kind of higher and farther artistic realm he can reach.
大厂 1994 布面油彩 40x50cm
曾经煤城
陆阳少年时代画的孤单矗立的烟囱好似他内心的写照，在工厂子弟学校上小学初中的他对灰褐色的厂房，红色的烟囱有一种莫名的奇特感受，那时的他还意识不到的是北方城市重工业获得的成就正在慢慢地悄然丧失，这个国家计划经济的重工业滑坡在后来经济改革后真的发生了，所谓的下岗经商再就业的社会失业之痛出现在了大多数普通工人中。从计划经济中的大工厂，到无序竞争的小厂矿，再到现代工业对环境治理，升级改造，这样的过程真的像将一个大饼在热锅里翻来覆去的反复烧烤直至焦糊，我们也恰好在陆阳的煤城系列作品中读到了这样的一种意象景观。
Former Coal City
The lonely chimney painted by Lu Yang in his youth is like a portrait of his heart. When he was in the factory children's school, he had a strange feeling about the gray brown factory buildings and the red chimney. What he did not realize at that time was that the achievements of heavy industry in northern cities were slowly and quietly lost. The heavy industry landslide of the country's planned economy really happened after the economic reform, The so-called social unemployment pain of laid-off business and re employment appears in most ordinary workers. From the large factories in the planned economy to the small factories and mines with disorderly competition, to the environmental governance and upgrading of modern industry, such a process is really like turning a big cake over and over in a hot pot until it is burnt. We also happened to read such an image landscape in Lu Yang's Coal City series.
娃娃戏 1999 布面油画 170x180cm
正如中央美术学院院长，中国美术家协会主席范迪安评价陆阳的煤城系列作品时所提到的：“陆阳用艺术的方式生动地记录了那一段工业时期的厂矿生活与工作场景。画面中色彩的堆积机理，笔触的反复搓揉，不仅形成了丰富厚重的画面粗砾效果，更是他内心情感与思想的写照。”
As Fan Di'an, president of the Central Academy of Fine Arts and chairman of the China Artists Association, said when commenting on Lu Yang's Coal City series of works, "Lu Yang vividly recorded the factory and mine life and work scenes during that industrial period in an artistic way. The accumulation mechanism of colors in the pictures and the repeated rubbing of brush strokes not only formed a rich and thick picture of the coarse gravel effect, but also reflected his inner feelings and thoughts."
人偶乾隆 2005 布面油彩 170x180cm
走过乡村
陆阳画乡村不仅仅在于他对某一地域的表现，他的足迹遍布中国农村的东西南北，格局范围之大，让人惊叹，从北方的雄浑大漠到中原的黄河流域， 南方的边陲山区，城镇中的农民工，他的绘画图谱中不断出现的是以人为中心的人文气象，其中饱含着浓烈的粗犷和温柔的细腻兼具之气息，强烈地表达出作者对中国社会中普通人的关注以及他对农民真切的情感。
Walk through the countryside
Lu Yang painted the countryside not only because of his representation of a certain region, but also because his footprints spread all over the east, west, north and south of China's rural areas. The scope of the pattern is amazing. From the majestic desert in the north to the Yellow River basin in the Central Plains, the border mountains in the south, and migrant workers in cities and towns, his painting atlas is constantly filled with people-centered humanistic atmosphere, which is full of strong rough and gentle delicacy, It strongly expresses the author's concern for ordinary people in Chinese society and his sincere feelings for farmers.
激流 2008 布面油画 40x30cm
陆阳在他的个人画展开幕式中说到：“我和他们（指工人农民）是地球上一样的劳作者，生产出来的产品都是在为人类社会的延续做工作，不同的是我们在不同的时空里劳作，他们的产品能够续命，我的产品只能做饭余衣暖后的消遣。（可能连这一点都做不到）
我和他们通常会在现场的写生中相识、相知、相熟。我们的心境也会在我对中国这一现实阶层的不断关切中越来越相似 __ 追求平等，享受淡泊，追求幸福。”这让我们多么动容地看到了陆阳是具有怎样一种超然独立的艺术家啊 !
Lu Yang said at the opening ceremony of his personal painting exhibition: "I am the same worker on the earth as them (referring to workers and farmers). The products we produce are all doing work for the continuation of human society. The difference is that we work in different time and space, and their products can survive. My products can only be used for recreation after cooking and warm clothing.(Maybe not even that)
They and I usually get to know each other well in the live sketch. Our mood will also become more and more similar in my constant concern about China as a realistic__ Pursue equality, enjoy indifference, and pursue happiness. " This let us see how moved Lu Yang is to be a detached and independent artist!
驱逐 2012 布面丙烯 40x50cm
相约心象
自 2010 年陆阳的作品有了根本性的转折变化，从绘画作品内容看，他把目光转向了一种非客观存在的主观精神表现，他似乎是在用画笔诉说他内心的景象，那里饱含着他对东方传统艺术情感思想的眷顾，也外泄出他对当下现实社会的一种级度关切，然而最终却是那样些许的中和之气跃然于我们眼前。
中庸之道，谦和低调是陆阳的外挂之象，然而陆阳的内在却是锐气横生，激情率真，澎湃汹涌，大气磅礴，这正是中国君子的鲜明写照：外柔内刚，温润于表，刚强内蓄，坚韧与心。
Congruent mental image
Since 2010, Lu Yang's works have undergone fundamental changes. From the perspective of the content of his paintings, he has turned his eyes to a subjective spiritual expression that is not objective. He seems to be telling his inner vision with a paintbrush, which is full of his care for the emotional thoughts of traditional oriental art, and also reveals his level of concern for the current real society. However, in the end, it is just a little bit of neutralization that leaps before our eyes.
The middle way, modest and low-key are the external image of Lu Yang. However, Lu Yang's internal spirit is vigorous, passionate, straightforward, surging and majestic, which is the vivid portrayal of the Chinese gentleman: Velvet glove, warm and moist on the surface, Strong and reserved, Toughness and heart.
逃 2012 布面丙烯 40x50cm
可以看到陆阳的艺术个性追求也不是一蹴而就，他经历了不断探寻初心的千辛万苦，对现实永不回避的多年对垒，对精神境界无休止打磨历练而逐渐形成，这正是最初敦煌的倾情相遇促就了今日的相约心象。所谓 固化的模式我们在陆阳的作品中没有看到，也许这就是陆阳绘画艺术创作的风范：在面对快速变化的现实世界中保留艺术家内心情感世界的终级追求。
It can be seen that Lu Yang's pursuit of artistic personality is not achieved overnight. He has experienced the hardships of constantly exploring his original intention, the years of confrontation with reality that he never avoids, and the endless polishing and training of the spiritual realm, which has gradually formed. It is the first passionate encounter in Dunhuang that has led to today's meeting image. We haven't seen the so-called solidified mode in Lu Yang's works. Maybe this is the style of Lu Yang's painting art creation: the ultimate pursuit of preserving the artist's inner emotional world in the face of the rapidly changing real world.
变异 2020 布面丙烯 60x60cm
当下陆阳的绘画艺术达到了一个新的高度，在大流行，后疫情时代三年里，他的作品中呈现出了深含现实批判的抽象面貌。
自从 2020 年新冠疫情蔓延全球，人们的生活方式被迫发生了很大改变。人类攫取世界的脚步，人类浩劫自然的脚步，人类残害自己同胞脚步都被迫减缓。我们在疫情困顿的独处中，更加面对自己的内心。扪心自问，“到底什么是生命中最重要的？”。
人类对世界失去“敬畏之心”，疫情全球肆虐，这是人类与自然界的矛盾，人类与自然界的角逐。
At present, Lu Yang's painting art has reached a new height. In the three years of the pandemic and post-epidemic era, his works have shown an abstract face with deep realistic criticism.
Since the COVID-19 spread globally in 2020, people's lifestyle has been forced to change greatly. Human beings are forced to slow down the pace of grabbing the world, the pace of human beings ravaging nature, and the pace of human beings killing their own compatriots. We face our hearts even more in the isolation of the epidemic. Ask yourself, "What is the most important thing in life?".
Humans have lost their "awe" of the world, and the epidemic is raging around the world. This is the contradiction between human and nature, and the competition between human and nature.
无题 2022 纸本综合材料
疫情期间，艺术家陆阳的纸本综合材料绘画作品，具有一种批判性。是对于今天人类的种种“与自然为敌”恶略行为的深刻批判。是发自肺腑之言：对于背弃了中国传统的“天人合一”自然和谐世界观的一种批判，一种惋惜。
后疫情时代困顿在家中，“由于绘画材料受条件限制”。他更多的进行纸本作品的创作，《无题》系列作品：综合材料，拓印的痕迹，身体的痕迹，以及铅笔书写的文字都跃然纸上。作品中有悲悯的力量。也阅读出些许的绝望，忧伤。
During the epidemic, artist Lu Yang's paper-based comprehensive material paintings were critical. It is a profound criticism of today's human's various "hostile to nature" evil strategies. It is from the bottom of my heart: a criticism and a regret for abandoning the traditional Chinese concept of "harmony between man and nature".
Stuck at home in the post-epidemic era, "because painting materials are limited by conditions". He worked more on paper, the Untitled series: composite materials, rubbing marks, body marks, and pencil writing all leap off the paper. There is a power of compassion in the work. I also read a little bit of despair, sadness.
无题 2022 纸本综合材料
这是一批蕴含着矛盾的作品。有些画面寥寥数笔，如中国传统文人画的笔墨趣味，但是同时又出现泼墨，指纹等因素。这种杂糅，也是对于今日世界的乱象的深刻揭示。这些抽象的绘画尝试中，也蕴含着他对于传统绘画的理解。经典图像形式的探索。
从视觉心理学的角度：这批作品中蕴含着“破坏性”的视觉属性。这些意向都体现了作品的当代性，是疫情时代对“困顿世界的内心写照”。
在陆阳未来的艺术实践表达中，我希望能看到他创作出更多更优秀的作品。
澳大利亚独立艺术家
Dan Lu 2022.8.2
This is a collection of contradictory works. Some pictures are only a few strokes, such as the sentiment of brush and ink of traditional Chinese literati painting, but at the same time there are factors such as splash-ink, fingerprint and so on. This hybridity is also a profound revelation about the mess in today's world. These abstract painting attempts also contain his understanding of traditional painting. The exploration ofical image form.
From the perspective of visual psychology: this batch of works contains "destructive" visual attributes. These intentions reflect the contemporary nature of the work, which is the "inner portrayal of the exhausted world" in the era of the epidemic.
In Lu Yang's future artistic practice and expression, I hope to see him create more excellent works.
Australian Independent ArtistDan Lu August 2, 2022
1965 出生于江苏丹阳
1989 毕业于中央美术学院油画系
中央美术学院教授 ，硕士生导师
1965 Born in Danyang, Jiangsu1989 Graduated from the Oil Painting Department of the Central Academy of Fine ArtsProfessor of the Central Academy of Fine Arts, a master's tutor.
