陸琤的繪畫具當(dāng)代性。這里面的根本原因是，她出生在一個(gè)更新的圖像背景之中。具體地說，她是在當(dāng)代電腦進(jìn)入了家庭、網(wǎng)絡(luò)游戲得到普及，數(shù)碼相機(jī)、數(shù)字電影、數(shù)字電視、數(shù)字音樂充斥了生活，人類從模擬時(shí)代進(jìn)入了數(shù)字化時(shí)代的背景中成長起來的。由于深受工業(yè)設(shè)計(jì)、廣告、動(dòng)漫與影像的巨大影響。所以，當(dāng)她進(jìn)行藝術(shù)創(chuàng)作時(shí)，自覺不自覺地便將設(shè)計(jì)的因素、諸如現(xiàn)代城市規(guī)劃圖因素、高空俯瞰的因素，電腦板（CPU）因素也帶了進(jìn)去。這些因素的帶入和使用其實(shí)是陸琤對(duì)新繪畫方式的大膽嘗試，極富創(chuàng)意。事實(shí)上，她的表達(dá)措詞、語言單位是機(jī)械制圖和城市規(guī)劃設(shè)計(jì)圖中常用的虛線。她把這些彩色的虛線通過排列、組合成橫向延伸的、沒有深度空間幻覺的復(fù)雜結(jié)構(gòu)。這種排列、組合既是機(jī)械的、設(shè)計(jì)化的，也是陸琤認(rèn)識(shí)、理解和表達(dá)事物的限制性條件。與此同時(shí)，她將我們見過成百上千次的傳統(tǒng)民間門神和戲曲作為基本圖案加以創(chuàng)造性使用。在這個(gè)已經(jīng)限定、封閉的空間里，她用彩色虛線的排列、組合規(guī)則進(jìn)行重畫，從而對(duì)傳統(tǒng)圖案進(jìn)行了分析、檢驗(yàn)、擯棄和重新確認(rèn)。這種方式?jīng)_破了原來圖案的輪廓外形與屬性，其藝術(shù)面貌相當(dāng)新穎。過去，我一直認(rèn)為，中國的抽象藝術(shù)難以與中國當(dāng)代文化掛鉤，因?yàn)樗粌H在本質(zhì)上屬于現(xiàn)代主義，而且還很西方化。但陸琤的作品完全改變了我的看法，它不是與歷史無關(guān)的純抽象的、烏托邦的設(shè)計(jì)，而是以一種抽象的語言去重新評(píng)說我們熟悉的歷史。這使我對(duì)中國的抽象藝術(shù)抱有了很大的希望。
魯虹
Paintings by Lu Zheng are contemporary ones. The essential reason is that she was born in an updating painting background. She grows up in such a background that computer is popular; digital camera, digital movies, digital TV, and digital music are around us; human beings step into a digital era in details. Because of the effects of graphic designs, advertisement, cosplay and videos, she adds naturally design elements in her works such as city layout aspects, bird-eye-view and CPU that are her experimental creation. And it is absolutely creative and audacious. In fact, broken lines used in city layout drawings are her language and expression in her works. She arranges these colorful broken lines to a complex structure horizontally outspreading unlimitedly. Such arrangement is mechanical and planned, but also Lu Zheng’s ideas and expression of limited conditions. Meanwhile, she creatively uses the traditional folk door-god and drama as impressionable pictures. In such a limited and closed space, she redraws paintings through the principle of arrangement and reconstruction of colorful broken lines. So traditional pictures are analyzed, checked, abandoned and reaffirmed again, which brokes through the original frame and the attribute of pictures and it has a brand new artistic look now. I thought that it is difficult to link up the abstract art with contemporary culture, because it is not only quite westernized, but also actually belongs to the modernism. But I was affected absolutely by works by Lu Zheng. He uses the abstract language to review the history familiar to everyone, but not the one with nothing to do with the pure abstract art or utopia, which makes the future hopeful.
Lu Hong
陸琤的作品能滿足我們對(duì)于“形象”的視覺需求。這是她的作品的一個(gè)顯著的特點(diǎn)，畫面中所有的形式與色彩的冒險(xiǎn)，都是從一個(gè)起碼可以辨認(rèn)的形象出發(fā)的。其次，這個(gè)“形象”在作品的語言系統(tǒng)中，又是一個(gè)架空了的“前提”。這個(gè)形象看似是一個(gè)基礎(chǔ)，但是在最后所呈現(xiàn)出來的結(jié)果中，它又變成了一個(gè)可有可無的假設(shè)。這是因?yàn)樵陉懍b的作品中，點(diǎn)、線、面，包括色彩等這些“造型”的元素都最終脫離了“形象”這個(gè)基本的造型的前提和基礎(chǔ)，它們?cè)诋嬅嬷行纬闪俗约旱恼Z言邏輯關(guān)系。但是，它們又沒有形成康定斯基式的純粹的視覺抽象邏輯，還是起碼是表面上維護(hù)著一種可以辨認(rèn)的形象識(shí)別關(guān)系。正是在這個(gè)前提下，我認(rèn)為在觀賞在陸琤的作品的過程中，所帶給觀者的是一種“驚心動(dòng)魄的心理體驗(yàn)”。這是因?yàn)椋谒淖髌分?，“形象”與“抽象的視覺元素”之間一直維持著一種脆弱的視覺心理上的平衡關(guān)系。抽象的造型元素一直蠢蠢欲動(dòng)，試圖要建立屬于它們自己的內(nèi)在邏輯關(guān)系。當(dāng)你的視線在她的畫面上游動(dòng)的時(shí)候，稍不留神，這些微小的細(xì)節(jié)就會(huì)在你的視網(wǎng)膜中形成一個(gè)個(gè)“視覺向心力”的旋渦中心，從而實(shí)現(xiàn)了對(duì)于它們自身所依附的“形象”的解構(gòu)過程。這個(gè)解構(gòu)過程實(shí)際上我們可以把它視為一種“弒父”情結(jié)沖動(dòng)。所以有人能從她的畫面中看到了電子線路板或者現(xiàn)代城市的結(jié)構(gòu)模型也就不足為奇了。但是，再造另一個(gè)形象并不是她的目的，在她的作品中實(shí)際上是呈現(xiàn)出了形象的結(jié)構(gòu)、解構(gòu)和再構(gòu)的“過程”。而這個(gè)“過程”才是她的作品中最讓人怦然心動(dòng)的特質(zhì)。正是在這個(gè)意義上，我認(rèn)為陸琤的作品超越了平面繪畫的概念，而創(chuàng)造出了一種屬于“影像”范疇的運(yùn)動(dòng)視覺的意義.
吳鴻文
Works by Lu Zheng meet our visional demands on “image”, which is one of the features of her works. All adventures of various format and color in her works spring from the knowable images. Next, the image is impracticably premise in language system. It seems that the image is necessary, but actually in the end, it becomes the dispensable supposal. Because sculpting elements of point, line and whole area including colors, etc. gets rid of the image, the essential base and premise of sculpting and forms their own logic relationship. It is not pure Kandinsky logic, but reserves the relationship of knowable image apparently at least. With such premise, audience feels sense of heartquake when watching works by Lu Zheng in my opinion.
In her works, a crisp visional mental relationship between image and abstract visional element is always kept balanced. Abstract sculpting element is ready to do something and trying to set up their own logical relationship. When you are looking at her paintings, these details will definitely attract you and form a visional centripetal force in order to deconstruct the image they attaching to. This process can be actually considered as the emotional impulsion of patricide. So it is so common for people to find out the model of PCB and structure of modernized city. But it is not her purpose to set up another one. Actually in her works is the process of construction, deconstruction and reconstruction, which is the most heart-leaping-up character in her works. Works by Lu Zheng has already beyond the concept of plane paintings but creates a meaning of sportive vision belonging to “video” to me.
Wu Hongwen
