Art Critic | 艺术评论家

陶咏白 - Tao Yongbai

吕美“归来” - 代前言

旅美14年的吕美,海外归来,创作了一批新作。这些从书法演变为抽象绘画的作品,演绎着她的人生,倾吐着无法言说的不堪。 14年的海外生涯,镌刻在她心上的是丢失了“自我”的伤痛,为了生存,她不得不学着经营个小画廊、不得不给人画肖像换面包。结婚生子,相夫教子,虽然她心有不甘,时时想着艺术,但成天的柴米油盐,吞噬了她的才情,她已没有了自己,又何谈艺术追求?当她终于决心重返艺术的天堂,拿起画笔的刹那,却发现曾有的绘画经验与整个艺术潮流已相去甚远。她毅然选择回到祖国,从东方的文化中吸取营养。是中国古人书法入画的水墨画给了她启发。才使她由早先中央工艺美院装饰画系和中央美院工笔重彩画系所给予她的写实的或带有装饰性的绘画语言转换为抽象绘画的语言。
她有一部分绘画,以线的游走编织起了一幅幅耐人寻味的画面。那颤抖着、缠绵着、纠结着的滞涩的线条,重重叠叠,反反复复,缠绕难解,压抑得喘不过气来。那旋转的、迂回的、眩晕的线圈,又似乎隐藏着一个逃遁的影像,这些躁动的线,诉说着一个怎样在痛苦中挣扎的灵魂?有位学者说:线“承载着人的思想和感情活动”,她以线性特有的艺术魅力让人心动。如果说这线的动感显现出在现实中抗争的生命力量,那另一些画,则以平稳的横向宽线,呈现出了一批色彩斑驳美丽似山崖的画面,据她说,想用金木水火土的色彩,来抒写她因缘结识修行僧人后出现的某种超验的感受,是超越俗尘的幻觉,心中常幻化出神圣的莲花世界。画中那些横断山崖上裂隙中所散布着点点星光,就象千佛洞,那是众神相聚的佛国吧,山崖中隐隐绰绰的神像,似在召唤众生。她极尽斑烂的丙烯色彩,融和着岩彩,以那温和,雅致的笔触,赋以斑驳而​​不失细腻,绚丽而不失素雅的色彩,把这些山崖的千佛洞塑造得神秘而又富有生机。吕美的作品是她的“心音”,是真情流露,你可以听到她心的跳动,她的纠结和苦痛,看到她放下后的平缓、舒展,向善的心怀。                                                                                                                                                                        

吕美的“归来”,因“内在需要”回到故土。又因“内在需要”选用抽象绘画形式,释放情感,表达精神,回归“自我”,愿她一
往向前。
                                 陶咏白
                              2014年11月23日    名佳花园

 

 

Lu Mei "return"


Lu Mei, after 14 years in America, came back and created a number of new works. The abstract paintings from calligraphy works is interpreting her life and pour forth the unspeakable memories. That the 14 overseas career has engraved in her heart was the pain of losing herself. To survive, she had no other choice but learn to operate a small gallery and draw others’ portraits for bread. Getting married and having children, taking care of husband and children, she was never wanted this life, urging for the art, but all the daily practicalities, invaded her talent. She was not being herself, impossible to come true the dream of Art. When she finally decided to return to the Haven for art, At the instant of picking up the brush, she awarded that her experience was far behind the tide of painting. She decided to return to the motherland, and take nutrition from the Oriental culture. Is the Ancient Chinese calligraphy painting that gave her inspiration. Which brought her from the meticulous painting realistic or decorative painting language, which come from the Academy of fine art and the central technology Department, to the language of abstract painting.

Part of her paintings, with the line she weaving many interesting pictures. Trembling, lingering, tangled with creaky lines, overlapping, over and over again, winding disordered, repressed out of breath. The line circles was Rotating the coil, winding, dizziness, in which seems that many hiding images were escaping these restless line, recounting what a struggling soul in pain? A Scholar once said: the line "carries the thoughts and feelings”, her art with line characteristic expressing something exciting. If this line’s dynamic appeared life power in fight, while another paintings, with the smooth of horizontal wide line, come out a color mottled beautiful Cliff. According to her, with” The five elements- gold, wood, water, fire and Earth “to draw her feeling after the meeting with some monks, that a specie of super inspection and beyond illusion of a normal world, in her heart a sacred of Lotus world appeared. in the transverse fissure on the cliff scattered Starlight which we can see from her painting, just like the thousand Buddha caves, maybe that a country for all Buddhists, in distinct mountain come out Buddhists, like are calling all souls. Her acrylic color painting, with color of rock, to make gentle, to elegant strokes, assigned a mottled and delicate, beautiful and elegant color, Cliff cave shape these mysterious and full of vigor. Lu Mei's work is her "heart", is a truth-telling, you can hear her Heart beats , her struggle and her pain and saw her gentle, stretch, good wellness after she understood the world in her way and just let it be.
Lu Mei's "return", for “the internal need ", she returned to homeland. Because of "internal need" she choose the abstract painting, that a emotional relief. A expression of spirit and return to "herself", May she went forward!


Tao Yongbai
23/11/2014  MingJia garden

魏立刚

【海客*翱翔】
      赠吕美

哈德逊畔郁蒸腾,
书象号角燃豫人,
鹊踏翠木迎海客,
故壤邀尔斧劈痕。

 

谧林鸣虫伴孤灯,

圣山暗夜渡鱼龙,
凿龛嚯嚯惊宿鹭,
梵音脉脉泪盈欄。

 

遥想飘泊十五年,
桥影粼粼鸢梦断,
昆仑雪鹫凋碧树,
解衣盤礡溅羽船。

 

雨浇雷鸣捣墨瀚,
抱鹤焚琴饲虎潭,
稻纸几堆云烟聚,
心骋山海揽峰峦。   
                             魏立刚
                              魏馆 2015,6,10定稿于宋庄

柴中建

《眼与心——读吕美的画有感》

 

 

       我比较完整的读吕美的画,是在她北京的工作室。她的生活和创作都在一个较大的空间里,能直接感受到的是,她让心灵任意去挥霍占用那些空间,生活则被限制在狭小的区域。从身与心对于一个艺术家的生活内涵所占的比重来看,吕美给我的直接感受是:她扎根于心灵的场所。艺术对于她就是心灵活动的探索方式,心灵的宽度、深度和强度,内在的决定着她的艺术呈现的样子和价值所在。由此,吕美二十多年的艺术实践就表现为她的心路历程的发展过程。


       像所有艺术家的成长过程一样,吕美最初进入绘画,也是从通常的临摹、写生开始。这种起步阶段的视觉经验与普通的常人看事物的方式并没有本质的区别,外在的景色和事物是其成就绘画的主因,艺术家基本上是依于所学的绘画技法来实现着画面的完成。所以处在这一时期的初阶艺术家还不懂得如何用内在的意识和心性经验来实现想象力和观念的构想与表达,而是一味的向外寻找外部世界所给予的东西(如美丽丰富的自然景色,原始古朴的村落遗址,性格特征明显的人物肖像等)。吕美这一时期的绘画经验是在学院环境的教学方式中形成的,这一时期的训练可以说一方面培养了她最初进入艺术世界的基本素质,而且是以中国绘画元素的方式所形成的基础;另一方面也构成了对她的内心直观能力的限制。所以可以看出吕美后来的艺术发展,无不是在破除已经形成的习惯思维和观看方式,如何让内在的能量一点点得到释放的过程。当然,如果机缘降临,使内在能量彻底的爆发,这几乎是每一个艺术家所祈盼的东西。


       吕美后来到美国发展的十几年,对于她的艺术之路有了一种文化观念上的改变。不是直接的艺术创作经验,而是艺术阅读的视觉训练。她在纽约和国际艺术大展中逐步形成对自身深深的疑问:艺术究竟要表现什么?什么才是与我的能力相应的东西?如何才能达到完全自由的无拘无束的表达?我想,一个人在经过初步的技术训练之后,最重要的两个步骤:一是开眼,二是疑问。不经开眼,视觉经验始终处在狭小而有限的资源下,眼界处在封闭状态,艺术何以具有创造的能量?不经疑问,内在的心灵如何萌动?艺术的理解力和品评见地如何具有?使自己的艺术理想和抱负能够心安理得、一无反顾的自信从何而来?所以,吕美的幸运得益于她在中国和美国之间、东方和西方之间的处境所给予的深刻思考:开眼——她的视觉经验整体性全览了现当代艺术的图景;疑问——她不断的审视自己的所见,不停的反思自己的艺术观念……,最后,她决然的选择艺术的内在心灵路线——走中国传统经典的意象与当代艺术形式相结合的道路。这条道路上一次关键的转折又让她得益于师从著名艺术家魏立刚、在国际书象学社两年的系统训练。


       看转折后吕美的艺术作品,能够直接感受到她在三个方面的拓展:其一,“意象”展开。分为“主题意象”如洞窟系列、五行系列;“无主题意象”的涂鸦系列。通过画面,可以看到她付诸于创作过程中内在意识活动的激动、畅想、犹疑、率性……的工作状态,是她内在的意向运动状态决定着作品的形成和走向,技术只是必备的素质而不再是决定的因素。其二,“观念”活动。她有较大一批“横线”与“纵线”和“五角星”、“字素”混合排列的充满理性思考的绘画。这批作品是她的内在观念能力活动的开展。这些观念要素最终是与隐喻达成共识,还是与象征形成合谋,我们还无法猜测。但无论如何,只要观念活动的能量越来越强,作品所能蕴涵的东西就会越加丰富。其三,“心性”流露。吕美最近的作品与无意识书写有关,是使自己的内在活动离开意念和思维,而处在纯然心性自然流露的状态,她以叠加的圆形和方形为基本构成要素,最后,圆形叠加的画面犹如混沌、星空、奥秘的显现;方形叠加的画面形成了通天塔的结构。这显然是她的无意识的心灵图像。


       眼与心——吕美的艺术道路是视觉的心路历程,这是我在阅读她的绘画中所感受到的东西。是她的可以触摸到的心灵的力量所表达的方式。


         
2016.1.19.柴中建于佐钦

绘画也是⼀种思考

 -吕美绘画的景观意识

 

对于当代艺术家⽽⾔,越来越没有⼈为画什么东西⽽画什么东西了。⽽越来越多的

⼈努⼒以其作品独特的⼼灵唤起和刷新的观念⽽使它们有别于客观物质形态。这次易佑⽂化推出的吕美个展,我们特别关注了艺术家近年来着意表现的两种客观物体

——塔和洞,这种对东西⽅⼈都不陌⽣,甚⾄是常见的物质形态。

吕美出⽣于华夏民族⽂化符号厚重的中原。对塔与洞应该算是见多识⼴吧?但或许是因为之后漫长的旅美⽣活,抑或是她对未来理念的重新审视,当我们站在她为我们再现的塔与洞时,那些曾经见怪不怪的东西却使我们感到某种特别的意味甚⾄狂喜。

意味何来?狂喜何来?我想这归功于她的思考。东⽅的塔多为七层或九层,层级各

⾃分开,逐级上升。它象征天有多重,以及逐步获得开悟的过程;⽽洞总是与⼤地、

⼦宫等联系在⼀起,是神与凡⼈见⾯的地⽅。⽽在古希腊哲⼈柏拉图那⾥也有“洞

⽳论”⼀说,此说恰恰也是把洞作为⼈类认识的⼀种特殊场域来探究的。这使我们不约⽽同地,开始从认识论的⾓度看待塔与洞这样的形态。简⽽⾔之,认识⽆⽌境, 思考是⼈类进步的阶梯,也是当代艺术家增加艺术创作价值与张⼒的能⼒。这⼀点我想说吕美具备了,也做到了。

关于“塔与洞”,吕美究竟为我们做了什么呢?

⾸先,她抓住了塔与洞这两种物象的对⼈类潜意识的巨⼤隐情。同时也看到这两种物体本⾝所具备的信息量,⽽将其图像化、符号化后,艺术创作所获得的空间不可谓不⼤;其次,她将思考毫不犹豫地融汇进艺术创作,巧妙地将塔与洞变成了⾃⼰艺术思维的⼯具,甚⾄从某种意义上说,她的绘画就是种思考,⽽这不正是⼀个当代艺术家该做的吗;第三,也是最重要的,她将物象的对象化表现层次通过⾃⼰的

⼿法提升为⼈格化表现层次。她不断地重复着物象,她幻化了物象,她模糊了物象, 因为她知道,使艺术最终成为艺术的绝对不是物,更不是创作的对象,⽽是艺术家通过它们对⼈格的表达,是⼈类理性思考与社会⽂化在作品中的投射。

先要预祝吕美的个展成功。相信她的作品、她独特的景观视⾓、她对⼈类景观的理解与再造能与我们现实⽣活中的景观经验相⽐较。让我们围观者既可以见到景物, 也可以看见意味,还可以拓展我们的认识空间和实际⽣活经验。

 

刁 炜 2018年8⽉4⽇

Painting is A Way of Thinking

 - Landscape Consciousness in Lu Mei’s Painting

 

Less and less contemporary artists paint for only painting, while more and more artists are endeavoring to arouse and refresh the opinion with the special spirit in their works, which lead to differ them from the physical forms. Yi You Cultural Centre promotes Lu Mei’s solo exhibition, and pays attention especially on two objective physical forms which she has explored for years——Tower and Cavern, which are familiar, even common, for both the oriental and the occidental.

 

Lu Mei was born on the midland of China where bears a strong memory of the Chinese cultural symbol. Can I say that she must be sophisticated about towers and caverns? When we see the common objects represented by Lu Mei, we feel a special significance, even a sort of rapture, of which reason maybe her long journey in the United States, or her reflection on the future opinions.

 

Where dose the significance originate? And the rapture? I think it should be contributed to her reflection. Most of the oriental tower has 7 or 9 layers, and each layer is graded and rises. It stands for the hierarchical heaven, and the graduate process of getting enlightenment. The cavern is always associated with the ground and the uterus where the human meets the divines. The ancient Greek philosopher Plato had a theory of cavern which studied the cavern as a special field of the human cognition. Tacitly, we began to view the form of towers and caverns from the perspective of epistemology. In brief, the cognition is endless, and the reflection is the ladder of human progress, and the ability that will help the contemporary artists improving their art value and tension. I would like to admit that Lu Mei has possecced such ability and made it.

 

What has Lu Mei done for us with the tower and cavern”?

 

Firstly, she catches the great hidden influence of the two objects left on the human subconscious. At the same time, she looks into the information carried by the two objects, and then visualizes and symbolizes them, for which she gets a larger space of creation. Secondly, she fuses her thinking into her creation, and turned the towers and caverns into the tools of her artistic thinking. To a certain degree, her painting is a sort of thinking, which is in fact the obligation of a contemporary artist. Thirdly, also the most important, she elevates the objectification level of objects to the level of personification. She keeps repeating the images, transmogrifying the images and blurring the images, because she knows what makes art become art finally is not about the image, or the object itself, instead, it’s the expression of the artist’s personality, the projection of human rational thinking and social culture.

 

I wish Lu Mei's solo exhibition a great success. Her artworks, her unique landscape perspective, her understanding and reconstruction of human landscape, as I believe, can be compared with our landscape experience in reality. She allows us not only seeing the scenery, but also the significance, besides, expanding our understanding structure and practical life experience.

 

Diao Wei 4th August 2018

吕美——象征主义 “蓝⾊⾦字塔”

 

吕美⼥⼠创作了“神话”这⼀系列作品.其中她重复叠加形成了7,9或13层的⽅型结构, 完成了这些本质上与我们潜意识相连的作品. 同时也实现了它的形⾃⾝形态为我们带来的所有象征意义。 这座不断攀升的⾦字塔将⼈类与⼀种更为⾼级的存在相互连接, ⾦字塔挑战并克服了地⼼引⼒的结构, 是⼀种追求超⾃然和梦想的不懈探寻。 当她在解析⾃⼰的作品时,她曾讲到: 当我不断重复叠加⽴⽅体的时候是以⼀种⽆意识的⽅式来建造另外⼀座“巴别塔”。这种直达天际的⽅式,代表了⼈类与上天连接的道路, 代表了能量的扩张与精神的升华, 唤醒为世界带来更多和平与关爱所必需的⼈的⾃主意识。⼀旦完成,⾦字塔就能以抽象与象征性的语⾔来对世界和⽣命进⾏解读,为实现梦想并将其灵魂与宇宙结合这⼀理想指明道路。她补充说道:所以“巴别”便是我创作艺术的形式,这也是我认知世界和⽣命的⽅式。

吕美⼥⼠熟知很多⽂明的历史,她来⾃中国却有不满⾜于仅仅钻研本国的千年历史,她渴望能独⽴于任性形式的价值判断去了解那些为⼈类历史的前进做出过重⼤贡献的⽂明。吕美的⼤部分时间都在纽约和北京这两座城市之间度过, 这⼀点也没有贬损古⽼的欧洲。吕美⼥⼠不断吸收在旅途之中她能够获取的各种各样的信息,先是吸收之后便是根据⾃⼰的⽂化背景对它们进⾏再创作,作为⼀名博学的中国⼥性,她继⽽回归东⽅开展了⼀系列的实践,协调有序地将西⽅最为神秘和象征主义的形象以⼀种极为正式和富有表现⼒的⽅式,与那些东⽅形象进⾏了结合。为了更好地理解,我也承担了她的⼀些思考:最近我也

⼀直受困于这类问题,我也仍在探寻我⾃⼰的⾦字塔作品。最近收到吕美的信,她在信中说:她⾮常喜爱建筑学,这种主体与空间的联系⼗分有趣;也喜欢探索古代⽂明,⽽且似乎这两者之间有着某种联系,她希望⾃⼰能有时光旅

⾏的能⼒,并且能穿越到两三千年前,希望能在那个时代⽣活并感触那些建筑物……通过她的艺术作品,我相信她已经成功了。她找到了她的⾦字塔,创造了她的世界,架起了时间的桥梁,⽽通过这座桥,她可以穿越古埃及,古希腊,古罗马,⽽这对她来说就如同回家⼀般。

在这种超越了惯于⽣活的⾃然世界的氛围下,吕美⼥⼠的深深感受:她爱这如同宇宙般神秘⽽深邃的蓝⾊。她已经认识到了这蓝⾊所承载的重要性和影响

⼒,⽆论她意欲如何,她都不会阻碍这⼀内在的推动⼒,⽽是满⼼欢喜的沉浸于这彩⾊奔流之中,这就是吕美现在所在的超现实主义的世界。

⼀旦进⼊这⼀⼼理学领域,这⼀切对她⽽⾔就好似命中注定⼀般;象征便是对这段故事的概述:她迅速穿过时代⼴场拥挤的⼈群,并⾛⼊西39街的EFA⼯作室。熟悉的蓝⾊让她很快地放松下来,并将曼哈顿街道上的⼀切喧嚣抛向天空。她的⼀个朋友问她:“你感受到蓝⾊了吗?”   “是的,蓝⾊是我最喜欢的颜

⾊。”她回答道。这就是她的世界,深沉⽽热烈。蓝⾊也不光是天空和海洋,它

 

如同宇宙⼀般神秘⽽深沉,也同样是纯粹,平和精神的家园。她愿意如此跌落

⾄蓝⾊深处……它的壮美就在潜意识之中,起源于她的⽣活观念,并在任何的艺术活动中得以体现,以此去更好地控制混乱的事物直⾄最后寻得在存在之中的更好感悟,这⾮常的艰难但她对此⾮常确信。

艺术只会帮助那些寻求帮助之⼈,那些充满了不安,疑虑和不满⾜感的⼈。艺术会帮助那些敢于提出问题,并深⼊讨论问题的⼈。对于吕美⼥⼠来说,创作作品是⼀种对所有压⼒的超脱,是对于灰⾊存在的不满感的胜利,是新发现的源泉,是对于⼥性尊严的⼀种圣化。蓝⾊⾦字塔是超越现实深渊最为强⼤的刺激,同时也是同意识⼀起升华的最为具有刺激性的象征主义⽅式,简⽽⾔之⾦字塔代表了她对于⾃⾝对于⽣命的全部感悟。

“我的作品就是我与⾃⼰的对话”

—吕美

 

Sandro Orlandi 亲笔

桑德罗 奥兰迪

  • 艺术总监

  • 曼托⽡德泰宫 “奇幻庄园” 艾未未个⼈展 策展⼈

  • 威尼斯双年展 “Padiglione Kenia 56” 策展⼈

  • 艺术道德”运动联合发起⼈

LU MEI

SYMBOLISM “THE BLUE PYRAMID”

Inspired by architectures, Lu Mei gave birth to the "Pyramids" series, in which he repeats and overlaps square-shaped structures in 7.9 or 13 layers realizing pyramidal works intrinsically linked to our subconscious and to all the symbolic charge whose form brings us back.This solid ascendant unites the human being with a higher level of existence: the pyramid challenges and overcomes the structure of earthly gravity and implies a constant search for the supernatural and the mystic.She explains her works...................... I repeat and superimpose squares to form the structure of a "Babel" unconsciously.It is a way of "reaching the sky", it expresses the road that connects man to heaven and represents energy expansion and spiritual ascension, awakens human self-consciousness, necessary to restore more peace and love in the world   Once realized, the Pyramid is able to represent its interpretation of the world and life and to provide its solution for realize your dreams and join your soul with the universe through an abstract and symbolic language. She adds, so “Pyramids" is language of my art. It is the symbol and the way I recognize the world and life ….

 

Lu Mei knows well the history of the various civilizations, she is a Chinese who is not content to deepen her knowledge of the history of her millennial country, she wanted to know and share the civilizations that have contributed most to human progress, regardless of any judgment of value or merit.In fact, she divides her time between Beijing and New York without disparaging old Europe. Lu Mei assimilates all the various messages that she can absorb and then manipulate them according to her own culture, and as a Chinese educator she seeks to develop an exercise, dear to many other fellow countrymen, namely to coincide Western emergencies, even the most symbolic and enigmatic, on a single, formal and expressive level, and to the Eastern ones. To understand better, I carry some of her reflections: .. I have been persecuted recently by this kind of questions, I am still exploring my works of the Pyramid. I like architecture, interested in relationship between subject and space, I also love exploring ancient civilization, I seem to have a connection with ancient culture and architecture, I would like to have the ability to travel over time and return to two or three thousand years ago. I would like to live that time and touch those architectures....... But through the works of art I create, I think I have succeeded......... I found my pyramid, I created my world, I built the bridge of time, through the bridge I can travel to ancient Egypt, ancient Greece and Rome ... For me it's like coming home........  In this atmosphere going beyond the natural earthly dimension in which we are accustomed to living, Lu Mei confesses her own predilection:............ I love blue, which is as deep and mysterious as the Universe........ You are aware of the importance and the influence that "blue color" has assumed, regardless of her willing does not do anything to hinder this inner thrust, but rather a particular pleasure to follow her, immersing herself totally in this chromatic flow, is the almost surreal world in which Lu Mei is now agitating.

 

Once entered into this psychological sphere, everything towards her seems predestined; the story of this episode is emblematic   I quickly pass the crowds of Times Square and enter in the EFA

studio in the west on street 39. The family blue allows me to relax early, throwing all the hustle and bustle of the Manhattan streets to the sky.... A friend of mine asks: "do you feel blue?" I

answer "yes, blue is my favorite color". This is my world, sure and warm. Blue is not just the sky, the ocean, it is mysterious and dark like the universe, which is also the home of the spirit, pure and peaceful. I am willing to fall in the deep blue ....

 

Her greatness lies in the willing that comes from this concept of life and manifests herself in all her artistic activity, to better control the chaotic state of things in order to derive from the existence better, surely more demanding, but safer. Art only helps those whom it seeks help, who approaches them full of puzzles, doubts, and unsatisfied needs. Art helps those who have questions and question themselves. For Lu Mei, creating works is the overcoming of all the tensions, is the victory over the dissatisfaction of a gray existence, is the source for new discoveries, is the consecration of the woman's dignity. And the blue pyramids are the strongest incentive to overcome the darkness of the present and are the most stimulating means to go beyond (ascend) with the mind, in summary represent the meaning of life.

 

“My works are a dialogue with myself”

(Lu Mei)

 

*Sandro Orlandi Stagl*

Artistic Director, Origins by EBLand. Artist Art Fund - Hong Kong.

Curator "The Incantate Garden" Ai Weiwei, Palace Te - Mantova. Curator Pavilion Kenia 56 Biennial of Venice.

Artistic Director Biennial Italy - China. Co-founder "Ethic Artist"