“所有艺术家都不觉得现在是结集出画册的最好时机，总觉得更有说服力的作品还在后面。”平面设计师何浩这么告诉我。但我还是觉得但凡过程总得有个小结，阶段性的回顾，机缘巧合有艺术机构邀请我做个个展，该为自己小结一下的时间到了。请评论家写点东西得聊，我总觉得自己嘴笨聊不清楚，不如自己先主动检查一下自己的东西，问问自己的良心：是否无愧？以及具体每一张画的创作过程，目标。所谓的“自评报告”。按作画年代排序。
　　1《老人像》2003，240×170cm，纸上综合材料
　　习作而已。上研究生的第一张素描。陈文骥老师让模特站到桌上，我们的视平线在他膝盖下。画得颇为表现，很大，画得挥洒，受德表的影响，墨水粉笔都用上了。那时刚下乡从西北回来，画老头的大屁股时想起了乾陵的石狮子。但看画的人大多还是说像外国人画的。
　　2《非典时期的闪电》2003-2006，120×120cm，布面油画
　　上了半年研，很快赶上了非典。那段生活很规律健康，每天都出去跑跑步，或散步。当时自己有一个小佳能（S45），出去玩时总随身带着瞎拍。这张照片成像不太清楚，也可能是晚上没用三脚架的缘故。这是四元桥一带的风景，城市的天际边缘很漂亮，我对那些大照灯、广告牌形成的色彩与氛围很感兴趣。底下的河其实很脏，夜把很多难看的东西给去掉了，显得忧伤抒情。这张画被问到最多的是画面前部红色的一道，是桥栏。但也可理解成禁止通过—非典疫区。
　　这张»其实刚开始时只画了一幅小的，30×30cm，荣荣的朋友李想来我家几次都说那是见过的我画的最好的画。受他鼓励，我就禁不住画了这长大的。打磨了好多遍，树的轮廓因为照片不清楚的缘故画的拙拙的。闪电是自己凭印象编的，几个朋友说有点假。
　　此画是那个阶段完成度较高的一幅，我自己也还爱看。
　　3《有郭熙风格山水画的双人体—坐驰》（女双人体素描）20049-10，250×160cm，纸上铅笔
　　研三开学的第一张画，模特用了三周时间，白天黑夜地画。希望挑战自己素描表现的极限。原本200×160cm的尺寸又往上接了50公分。山水是照画册加的，元代仿郭熙一路的作品。郭的灵动气韵在元人仿来那么“生硬”，但有气势！晚上一点点磨，用铅笔来体会古人画山水在绢上的质感，很过瘾。但我可能做的有点笨，所谓举重若重了。画面左边角落里有一本波尔斯坦因的画册，可看出我当时关心的画家。
　　4《上海往事》200410-12，280×165cm，布面油画
　　波尔斯坦的影响开始显现，都是自己摆的环境与模特，起完稿后局部推着画，一个局部接着一个局部完成。一次画完，但整个过程延续了两个多月！第一次那么完整的画完一张画，当时颇有些成就感。作画心态极单纯，只是想完成它！当时马老师有时会和陈老师一起来教室看。她说她来看这张画比去美术馆看印象派的展（当时的一个大展）还勤。颇给我鼓励，就冲着师母这么看重，自己也得克服万难，把这张画画好！当时一天画8-10小时，住在画室的沙发上，每晚11点会有保安查房，我就得乖乖熄灯睡觉，只是天天吃食堂有点受不了。其间某日朋友短信告知陈逸飞死了，我晚上停笔一天，以示不敢效尤。生命很脆弱，自己得好好活着，警钟长鸣呀！这些习惯以及工作态度延续至今。
　　但这张是习作性的作品，有刻意叙事的苗头了。当时夏小万的爱人陈卉和我们一起画。她基础不好但进步飞快。夏老师偶尔会来，我们也很高兴又能结识一位令人尊敬的师长，跟他聊得很投缘，他很棒！
　　此画完成后参加了壁画系内的展览，得了一等奖。李辰说这可能是我毕业创作中最好的一幅了。因为通常第一张的劲头都会比较大，但我很不以为然。
　　5《庄子寓言·社树》200412-20052，200×236cm，布面油画
　　在教室睡沙发的那段日子每天早上都会按时起，早起了就给自己布置一点功课——读《庄子》，一直想下决心读的经典。我大声朗诵以期达到考研前学习外语的状态，熟读然后背诵。从开学到开始这张画之前我已经能整篇整篇背几章了。读到“社树”一节忽然悟通了人生一些道理。《庄子》在现今读来仍是那么新鲜，如今的人生，社会不是如两千多年前一样吗？我们与古人面临着类似的人生境遇，有才能的人社会不会放过你，用尽为止；才越大，责任越重，人生越受禁锢！这是客观规律无人能脱逃的。
　　我去选了模特开始编我的寓言了。
　　原本构思是旷野、室外景，当时受挪威画家奥德（Odd）作品的影响。陈文骥老师说不如你在室内用道具布置一个背景来指示环境，强调室内的概念，我接受了建议。我只接受极少数人的建议，陈老师是其中极其重要的一个。
　　在这张画中一些指示的符号道具开始出现，书的形象再次出现。上一次是从图书馆借出的良友画报（《上海往事》）这次是在古籍书店淘来的一本有关古罗马遗迹的老照片，右侧殖民者伐热带雨林中巨木的照片正好和社树的主题相契合。画法开始有反复，背景改了好多次，人物也画了不止三遍。开始大量用意大利颜料，开始讲究技法了。
　　6《庄子寓言·子言无用》20053-4，250×145cm，布面油画
　　技术上又有长进，可能是源于我所选择的画布，一种双层进口的细纹亚麻布，织的很好，平整细腻又结实，画框的尺寸也是按着那布的最大门幅订的。
　　昨天为出版，去藏家处拍照又见了那幅画，已经快两年没见面了，觉得没有回忆里那么好了。画面因为罩染颜色厚度的问题略嫌薄气，习作感依然很强。像见了以前的恋人。不知是我眼力长进了还是因画被买走心痛所致，当时我认为细腻的现在看来还不够细，油画语言还很幼稚的。
　　此画光线上的变化是最显著的。记得当时有一个台湾画廊想来大陆找年轻艺术家合作，来了不止一次，还从台湾打长途跟我聊艺术问题。他们看了我所有的作品——那个人显然是懂画的，他们在全世界跑画廊、博物馆、展览会，见的很多了——对我说：你对光有感觉，你应该成为研究光的画家。他们比较欣赏我前期画的《小井夜色》、《录像厅》等作品。他说，你叫陆亮，大陆上有光亮的意思，我们就拿这给你做宣传，人家一定会记住你的。
　　说这些话时我刚把人体画了第一遍，光源还是平均的打在模特身上。之后我开始调整光源，将灯光直接打到画室的水磨石地面上，这张画开始有意思了。模特下课时我就安安静静的画地面，不论多少遍，目的是把感觉传达到传达足了。（但最近又看到此画略有些失望。）»静止的东西，我知道它跑不了，心态很踏实，很静，容易进入作画状态。地面上是前几届同学用过的痕迹，拷贝无意义的痕迹很过瘾！
　　在技术上，可能是底子的缘故，中途吸油得利害，几乎无法进展。陈老师推荐用凡高的水溶油画色，罩染后润润的效果颇好！
　　7《庄子寓言·屠龟》20055-6，210×280cm，布面油画
　　这批画中完成最快的一幅（不到二个月），但记得当时颇不满意，因为从细致的程度上没有超过上一幅。此画后来被留校也觉得不怎么“可惜”。（当时的想法怎么会这么可笑？）甚至奇怪谭平当时怎么会在那一组画中看上那一幅？布、砖、沙发等在有前几张作品技术探索的基础上表达起来毫不困难。得来全不费功夫，也就不太珍惜了。但现在看来，此画确是那一批作品中创作思路最贯穿的一幅。沙发象征着王权，王者不见了，沙发上打开的书代表知识，有知识，才能成为统治者，反过来统治者也统治着知识的所有权与解释权。沙发是70年代的样子，那种红塑料皮的面料是我非常熟悉的。（小时候我家就有一个类似的沙发。）金色的布挂在沙发扶手上暗示着王的袍子，与翻开的书页都暗示着王的暂时离开。
　　持丈者代表巫师、为王献策的人。献龟者渔夫余且，则是一脸媚相，是政令的实行者，无条件的拥护者。地上的瓦砾有工地上拣来的红砖与卵石，也有参杂其间，青峰从西安带回来的秦砖汉瓦的残片，分别象征现代社会的激流勇进，与往昔文化的颓败。故事背景是现实生活中花家地一带的夜景。如戏剧舞台上的布景。龟是自然神，是最光亮的部分。代表不可能的存在与信仰—敬畏心的泯灭。
　　为了找气质相符的沙发，我骑车转遍了美院附近所有的小区，最后在花家地西里北区的老院中找到了沙发的天堂。各式各样，品类颇丰，性格不同。此沙发是最方正最有“官味”的。坐的地方都烂开膛了。它是在一堆老头打牌聚会的一个小角落里发现的。老头们也不太爱坐它，所以非常慷慨地“借”给了我。我很迂腐，答应要还他们的。但后来再去时，那一片地方已被围墙圈起来，开始平整土地，要建新的小区了。那些老头们也不知道又去哪儿聚了。那儿离南湖电影院很近很近。
　　8《焚》2005，250×145cm，布面油画
　　9《南湖电影院》2006，50×85cm布面油画
　　10《夜牧》2006，280×210cm布面油画
　　很顺利地留校，但我很清楚自己的处境，不断努力创作已成了自己的生活习惯、惯性。毕业展的同时开始画《焚》。那是在找沙发时遇见的一次烧垃圾的场面，还是用我的小佳能不同的曝光拍好几张现场的照片，以表现火与阴影中东西不同层次，这层次有助于我的回想。
　　正好有大小合适的画框，就大笔厚色铺开了。这张画从2005年夏天一直画到2007年秋天。靳先生来看过一次，说这火画得还不错，老先生虽然干瘦，讲起画来却是一兜子的劲。那大概是2006年年底左右的事，几天后才知道靳先生的夫人刚离世了。
　　开始不断有画廊、策展人、收藏家来看画，谈价、谈合作。开始卖画了，不久当第一次拿到厚厚一塌人民币时，心情真是激动。与那个收藏家是在五洲大酒店见面的。出来后赶紧把青峰叫来，自己存了一部分，把大部分寄给了家里。家里也慢慢不再为我留校，没回上海工作而有些不高兴了。
　　开始了卖画的生涯，自己的画价也在一涨再涨，是否有点太快了？看看周围朋友的价钱也都不低，那是一开始卖便宜了？还是大势所趋，水涨船高了。我觉得我们遇上了一个疯狂的时代。这一切与你的艺术无关又很有关。
　　泡沫无疑是存在的。大量的泡沫。好多重眼前时利的“艺术家”们以大生产的方式制造着艺术“商”品，把自己包装成明星以适应这艺术选秀的机制，艺术被娱乐化市场化了，各色人等都很活跃，我很反感这一切。
　　我觉得好的作品应该是从内心里流出来的，是非常难的。得有从容的状态，得花大量的脑力与精力得来的，不该那么容易肤浅。不该仅仅只是想出个能成功或复制成功的“招”，然后不断复制、不断露面，我反感这一切。
　　好友梁硕从欧洲回来，我们一起在潭州吃饭。他的兴趣一直集中在空间与观念上，我问他有没有看到一些好的绘画作品，他说“维米尔！”想了一会“还有一个人，我一开始以为是摄影，凑近了看才发现是画的。和石冲、冷军那种细不一样，说不清楚，技术特高，画面也很平，几乎看不到笔触。但，就是画的。”这此话对我印象挺深，我努力在想象中完形填空，构想着这种极单纯的感染力。我开始被强烈吸引：没有什么“观念”，仅是画照片，画一个有意思的难以舍怀的景物。开始制作《南湖电影院》。
　　这家影院原来是为南湖渠砖场职工盖的文娱场所。中央美院在1995年夏天突然迁临南湖渠，这影院是附近唯一一家文化娱乐设施。（同学们发现丽都饭店的迪厅是后来的事了！）。进去看过几场电影，很便宜。后来北京全体院线都涨价了的时候，那儿依然很便宜。观众大多是民工，夹杂着我们几个学生。环境简陋，观众素质欠佳，退场时水泥地上厚厚的瓜子壳像一层地毯。
　　我在2005年留校任教后不久分到了一间半地下的小宿舍，使我又回到了阔别了五六年的电影院附近。上下班还常常会经过。那时的影院早已不放电影了。砖厂的旧房也都扒了，盖成了漂亮的小区，电影院像那个时代的破旧简陋的出版物，夹在时髦鲜亮的新书之间，不合时宜。照片是一次散步时，出于好奇，透过影院玻璃门朝里面张望时拍的，（画面右下角的黑影是门把手，老式那种）。里屋还亮着黄光好像有人住着，厅里的迎客松气势依然那么正，挺立着，看久了让人直想哭。墙角一排水池子应该是后来修的，它们似乎没有原先就存在的理由。水泥地是最老的那种，被反复踩踏得泛出油光光的微绿色，像玉一样润。后来在画里那也是我反反复复精心调校的地方。
　　翻出照片来画几乎是一时的冲动，但没想到彻底完成这张小画是半年以后的事了。开始时电影院还没拆，我画画停停，想着有空还可以再去看看。但再去时，那已是小山似的一座砖堆了！一辆工程车耷拉着机械臂疲劳地趴在那堆砖上。再不久那儿被清理平整，铺上草皮，插上几根牙签似的树苗，弄成了小区的花园。而我则只剩下照片来帮助回忆，画我印象里的老式日光灯，正气的枯笔迎客松，润如玉的老水泥地。
　　很多人用照片画得“平、淡、虚”，而我却努力把原来甚至有点“虚”的照片画“清楚”。我喜欢做完形填空。画面的氛围几乎第一遍就有了，画了两三遍就挺浓郁了。但我不满足。我要什么，我表述不清楚，只是不要能容易就达到的。
　　我开始一遍一遍打磨，再画，再打磨。传说后羿练射箭先练看虫子，把虫子看得大如车轮就好射了。照片也可以。把虚的地方看清楚，复杂的地方看单纯。画笔越用越细。荷兰产的水性油画色让我把技法控制得很好！那张小画花在上面的时间很多，老婆都急了，认为我没必要为一张小品如此使劲。前后加起来，完整的投入在两个月以上，都够我完成一张二三米的大画了。
　　其实画面能让你使劲使得进去是一种幸福。画这样的画对我来说有如禅宗中那著名的公案：“随便找块转头磨成镜子。”我突然明白做人、作画，态度很重要。对象的选择、主题的明确只是随缘而定的，作为自由人，你最大的自由只是调整你的内心，调整做事的方式与态度。艺术有如人生。太多人急忙寻找自己的主题与形式，所谓的“招”，所谓的“占山为王”，好让别人记住他，在我看来只是追求“指月之指”罢了。
　　《南湖电影院》先后参加了2006ART北京，今日中国美术，与C5画廊的学院联展，反映都不错。好友王兵说，这是一张令人印象深刻过目难忘的作品。李旭说这张画有着一段影像的力量。孙景波老师在我画室看了一圈，说这张是最完整，最成立的一张。陈老师是最早见的：“就用照片画的？”他不置可否，但语气里的惊讶还是有以资鼓励的成分。“日光灯还可以画得再亮点！”他自己很深入的画过日光灯，应该有发言权。还是马（晓光）老师直接。“别卖给那些傻大款，那些人也未必看得懂。你以后再也不会画出这样的画了！”这画在2007年10月初因为还房贷给买掉了，非常非常心痛，虽然是一个相知多年的好友收的。
　　《夜牧》又叫《寒冬夜行人》，用毕业创作用剩的大框子画的。我在基础部的仓库里发现了一付马骨架，很刺激的视觉感受。每根马骨上用毛笔严谨的标着骨的序号，象文物，该是老美院留下的遗物，我把它拉到素描课堂上，与模特摆在一起。有几个学生画面完成的还不错，但没有特别满意的，我想自己再画画。大约从06年3月初画到5月底，7、8月间又润色过两次。画得颇为顺利的一张，意图贯穿得也较完整。砖头与枯草是叫两个本科同学帮我搬上来的。模特的形象也是我想要的，一切都很顺利。不再是庄子寓言了，只是单纯的有关城市的寓言。碎砖依然是颠覆，暗示了现实中的建设与城市；枯草形似宋画，意指远逝的传统文化；马骨意指农耕文明的衰败。引路的老者消瘦精明，现实中人。破旧的汗衫、秋裤又有如梦境中，目光呆滞不知前途何方？后头的城市却在不断迫近、扩张。中间是旷野，暗色的玄冥之地。好友王兵说远处的背景太实了，前头的碎砖已足够结实，背景尽可黑得单纯空灵些！他提到在意大利所见卡拉瓦乔晚期几幅大作的背景处理，我觉得说得有理。没待我改动，画便买掉了。把想法留存到以后吧！我觉得此画的缺点是寓意太直白了，但这很难说，力量也在于这直白、生涩之间。王华祥来看，说写实的语言是可以做一些有意义的事情的，在这一点上，我同意。
　　11《骷髅与蝴蝶》2005-2006，40×80cm，布面油画
　　画于《夜牧》之间，技法上尝试练笔的小品，左上角略有残。
　　《黄山组画》12-14
　　05年夏天，一个人背着画箱上黄山。（有点象20岁那年独自周游全国的感觉，那时刚考完大学，说是旅游，更确切是流浪。）喜欢夜黄山，试制几幅。
　　12《天涯海》2005，60×60cm，布面油画
　　为看日出凌晨三点就出发了，伸手不见五指的山道上游客熙熙攘攘，小声有序的走着，感觉真是特别。从排云楼步行至光明顶，大约在飞来石处西望，遇见月西沉！云海无尽，月华灿烂。山岩在起伏的云海间时隐时现。天际月，冰清玉洁，寒气袭人；云层下，幽冥中层岩嶙峋，有如地府，要引人下坠一般。后来读到安徒生的小说“冰姑娘”气氛略有仿佛。我的画最后呈现得温柔柔媚了很多，不够辉煌，但气氛还是浓郁的。
　　这批黄山画让我想起非常喜欢的那位画意摄影大师：郎静山。还有更接近的源头：弗里德里希。
　　13《月初光》2005-2006，140×140cm，布面油画
　　挺神圣的一幅，构图可能太平实了一些，最后实现的效果还不错。大约北海梦笔生花一带，月自东方初升被山峰遮挡后天际隐约的光芒，还有半透明的微云升腾。画面的难处是那道光的虚实度，反复改动颇多。
　　14《雾山》2006，120×180cm，布面油画
　　技法尚可，但构图一般了，自己不是太喜欢。
　　15《观沧海》2006，150×200cm，布面油画
　　06年春带学生去烟台养马岛，老袁总喜欢开车去一固定的海岸边画，我画了几张结合岩石的写生，慢慢开始变得无聊，看着大海色彩变幻发呆。学生们刚见大海，前两天拿回来的写生构图也都是一样的——海平面。可以理解，陆地上的一切在大海的比照下都显得那么渺小、脆弱、微不足道。大海是有生命的，而且是那么的勤快忙碌，看久了很容易发呆。尤其配上落日！生命无常，她却永恒。
　　此画至今还在不断修缮之中，画面效果也一点点开始接近初衷，我已断断续续画了两年！粗厚的画布已经被颜料填平，抬起来很沉。作画时会想起两个人：一个是日本的摄影师杉本博司；另一个是展子虔，《游春图》。还有一个人不敢想：洛佩斯。想前两人是在考量做的意义，后一个不敢想是因为做的深度。
　　16《哭孩》或《惊蟾》2004-2007，160×140cm，布面油画
　　源自童年捕杀青蛙的经历与在地下室发现发霉的凤翔泥蛙的偶然。哭孩的图片不太清楚，硬着头皮画完成的，颇被动。在C5展了以后有人看好想买，但我觉得远未画完。拿回磨掉再画，覆盖了不止两三遍。蛙与枯叶是实物写生，画得要投入，从容，放松得多。
　　同时期在思考画面中人物拼凑的问题。
　　此画拖得时间很长，2004年11月至2007年底。
　　17《惊猿》（未完成）2006至今，350×140cm，布面油画
　　正好有类似尺寸的画布，但这种»画布越来越不喜欢了。
　　竖长条的构图源自国画立轴，原来想画三条，但此画上下部分离，不成功，停在那儿留观后效了。
　　18《老男孩》20071-5，235×175cm，布面油画
　　人物创作的一次小结。源自自己卖画买房的一段经历。梁硕开玩笑说那哭孩是小陆亮，这是老陆亮。老陆亮混得有点失败，一屁股坐在包画的塑料泡泡上，鞋也弄丢了，后头的别墅却还没盖起来，发财树倒是先种砸了。画得颇拙，主题是现实的幻灭与荒诞的失落。
　　19《煤库》（未完成）2007，小90×68cm/大285×480cm，布面油画
　　延续《南湖电影院》之后的又一副室内小画，不断进展中。比起电影院少了好些人文的符号：迎客松等。或者说，电影院虽然简陋，它本身就是一个特殊年代的文化象征。在煤库，空旷的煤库，主题单纯得多，是能源，所指是人类的生存。当我初次站在煤库的氖气灯底下时，矮小的煤堆退缩在深处，煤块像宝石一样闪闪发光。煤库里冷冷地但蕴含着巨大的能量。怎么会那么熟悉又那么遥远！我决定开始画它。希望可以超过《电影院》。目前小幅已近完成，不过瘾，开了一张近三乘五米的整幅大布画一张大的。象个工程！要达到远观近察的“细”可能得画上整整一年的时间。既然开始了，我不在乎！我想自己一定是疯了！
　　20《蔷薇》（未完成）2007，150×110cm，布面油画
　　源自歌德的一首诗《野蔷薇》。画的是燕郊两位幼儿园的小老师，单纯质朴又微妙复杂的小镇姑娘。想起自己在上海南桥读初中时遇上的人与事。
　　21《砖堆》2007至今200×360cm，三联幅，布面油画
　　如果说大煤库还有待时日，看不见曙光，这幅砖堆已进展过半了！花时间努力去做，我该禁口了。此幅构思源自弗里德里希冰山沉船一画。
　　22《老人背影》240×160cm纸上铅笔2005年

　　Speaking of My Own PaintingLu Liang
　　“All artists don't think now is the best time to produce a catalogue, because more persuasive works will come in the future.” This is what graphic designer He Hao told me. Yet I still feel, every period should end with a conclusion. My looking back over this period is coincidentally met with an opportunity offered by an art organization's invitation to host a solo show on my works, thus the time to summarize came upon me. If I asked a critic to write something for my works, I have to speak with them, and I always felt I am not articulate enough to explain properly. I would rather examine my own works, and ask my conscience, “Do I have regrets with these works?”, as well as have the creative process and goal for each work been met? This is so-called “Self-evaluation report”. They are put in the chronology of the work completed.
 
　　1. Old Man Portrait, 240 x 170 cm, mixed media on paper, 2003 (page 11)
　　A study. This was my first sketch after I began my graduate studies. Professor Chen Wenji asked the model to stand on the top of the table, our line of vision met below his knees. I depicted in a rather representational style, and it is quite large in size. I painted without constraints. It was influenced by German expressionism, ink, gouache, pen were all applied. At the time, I just returned from the Northwestern part of China, when I was painting the large rump of the old man I thought of the stone lions at Qian tomb. Although, most people who have seen the painting said it looked like a work of a westerner.
　　2. Lightening during the SARS Crisis, 120 x 120 cm, oil on canvas, 2003 – 2006 (page 13)
　　Half year into my graduate studies, SARS hit. My living schedule at the time became quite routined and healthy. I ran or took a walk everyday. I had a small Canon camera (S45) at that time, and I brought it along whenever I headed out, and took pictures randomly with it. The photograph taken for this didn't come out very clearly, perhaps was because I didn't use a tripod in the evening. It was a shot around Siyuan Bridge, the horizon at the periphery of the city was beautiful. I was quite interested in the colors and ambiance created by those large streetlights and billboards. The river below was in fact quite dirty, but the night had concealed many ugly sights conveying the rather melancholy and expressive. The most frequently asked question on this painting is the red line across, it's the safety handles on the bridge. However, it can also be understood as no access – quarantined SARS area.
　　In fact, when I first started, I have only painted a smaller version, the size of 30 x 30 cm, a friend of Rongrong, Li came to my place and said it was the best painting he has seen of mine. Encouraged by his words, I was motivated to paint this larger one. It was reworked many many times; the outline of the tree was indistinctive because the photograph was unclear. The lightening was added according to my memories; some friends said it looked fake.
　　This is one of the fully completed ones, which I also like to look at.
　　3. Two Nudes in the Style of Guo Xi's Landscape Painting – Surging while sitting down(Sketches of Two Nude Women),
　　250 x 160 cm, pencil on canvas, Sept – Oct, 2004 (page 50)
　　This was the first work in my third year of graduate studies. I used the model for three weeks, painting day and night. I wanted to challenge the outmost of my expression through sketches. I added 50 cm to the original size of 200 x 160 cm. The landscape painting was added as a facsimile of the art book – paintings done in the Yuan dynasty in the style of Guo Xi's paintings. Guo's vitality was imitated by the Yuan painters with such “rigidity”, and lack of magnificence! I thought about it in the evening, that it would be quite gratifying for me to draw it with pencil on silk of the ancient's landscapes. Perhaps I am not quite bright, as the saying goes, “lifting weight with something seemingly heavy.” On the left corner of the painting, there was a book on Philip Pearlstein by which you can tell the kind of artist I was interested in.
　　4. Stories of Shanghai, 280 x 165 cm, oil on canvas, October 12, 2004 (page 14 - 15)
　　Influence from Philip Pearlstein began to be revealed, both the setting and the models were set up by myself, after I have drawn out the outline, the details were painted on as I went along, one detail was done after another. All done impasto, although the entire process lasted over two months! It was the first time I have finished one painting in its entirety, and felt quite accomplished at the time. My attitude was extremely simple. I just wanted to finish it! At the time, Professor Ma would come with Professor Chen to the studio to see our works. She said she came more often to see this painting than she did to the National Art Gallery to see the exhibition on impressionism (an exhibition showing at the time). That was also encouraging, only because of her concern, I felt I had to overcome all difficulties, and do a good job on it! At the time, I painted between 8 – 10 hours per day, and slept on the sofa in the studio, and the safety guard would make his tour at 11 o'clock every night, and I turned off the lights to go to sleep, although eating at the canteen everyday was unbearable. During that time, a friend of mine messaged to inform me the death of Chen Yifei. I stopped for one evening, to show my respect. Life is fragile, and I should take care of myself, it was a resonant alarm! These habits and working attitude has continued until today.
　　However, it was a study inclined to intensional narrates. At the time, Xia Xiaowan's wife, Chen Hui painted with us. Even though her foundation was not that solid, but she improved rapidly. Professor Xia would come from time to time, and we were happy to be able to meet with this respectful alumnus, and we shared similar interests, he was great!
　　When this painting was completed, it was shown on a small exhibition in the department of murals and took back the first prize. A friend of mine said it is perhaps one of my best works among those done for my graduation. Because the first one usually bares the greatest motivation even though I didn't take it too seriously.
　　5.Zhuangzi Fable – Tree God, 200 x 236 cm, oil on canvas, December 2004 – February 2005 (page 17)
　　I woke up early those days I slept on the sofa in the studio, and I gave myself some homework – read Zhuangzi. I always wanted to read the classics. I read out loud as when I was preparing the English graduate studies exam, once I became familiar with the texts, I recited them. From the time classes began to I started working on this painting I could already recite a few full chapters. When I got to the chapter Tree God, I suddenly came to realize some principles in life. It is still refreshing to read Zhuangzi today, how different are our lives and this society from that of two thousand years ago? Our existence and that of ancestors are similar - those with abilities, the society will not ignore your talent, but to exhaust you until the end; the more talented you are, more responsibilities are assigned, the more one's life becomes limited! This is the objective principle that no one can transcend.
　　I selected a few models to write my own fables.
　　My initial idea was to set it in an open space, at an exterior setting, and it was a time when I was somewhat influenced by the Norwegian artist Odd. Professor Chen Wenji suggested that I set up the props and background inside to simplify an environment in order to emphasize the idea of the interior. I took his advice. I only take advice from a few people and Professor Chen's accounts for one of them.
　　Some symbolic props with directional meanings began to appear. The motif of the book emerged again. Last time, it was the Liangyou magazine I have borrowed from the library (in Shanghai Story) whereas this time a book on the old photographs of Ancient Roman relics that I found in antique stores, and the large photograph of the imperialist's deforestation of the rain forest is coincidentally coherent with the topic of Tree God. My painting approach began to be repetitive, the background had been edited many times, and even the figures were reworked at least three times. I began to largely apply Italian paint, and began to be meticulous with techniques.
　　6. Zhuangzi Fable – Zi's Useless Words, 250 x 145 cm, oil on canvas, March – April, 2005 (page 19)
　　I have improved technically, perhaps it's due to the type of canvas I have chosen, a kind of double layered, imported, thin thread semi-hemp canvas. It had excellent quality, it's even and durable, the size of the sketcher frame was also made according to the largest possible size of the canvas.
　　For publication purposes, I went to the collector's house to take a photograph of this work, it's been almost two years that I haven't seen this work, and felt it is not as good as what I remember. Due to the depth of the colors, the image seemed quite frail, it looked like a study. Like meeting a former lover. Not knowing whether I have raised my standard, or because the painting had been bought, what I thought was meticulous at the time, with today's perspective is still inadequate, my language in oil painting was still quite naive.
　　The most obvious change is the rendering of lines on this work. I remember, at the time, a Taiwanese gallery came to the mainland to seek young artists, and they came more than once, and called me a few times to discuss art related issues. They looked at all of my works – that person obviously was an expert on paintings, who went around the world to do business with galleries, museums, art fairs, experienced – said to me, “you are sensitive to lights, you should be an artist who studies light.” They liked my earlier work Night by the Well, Viewing Hall and a few other ones. He said, you are Lu Liang, implying the brightest on the mainland, that's how we will promote your work, and people will remember you.
　　When these words were spoken, I had just finished the first round on the figures; the light source spreads evenly over the model. After that, I began to adjust the light source, shining the light directly on the cement floor of the classroom; this painting began to become interesting. After class, after the model leaves, I can paint the floor quietly, no matter how many times I paint it, the goal is to get the feeling across and adequately. (Although when I see this painting recently, I am somewhat disappointed with it). Something still, I know it won't run away, my attitude is calm, quiet, and easy to concentrate on painting. The floor is marked by traces from students graduated years before; to copy meaningless traces is quite awesome! Technically speaking, perhaps due to the palette, it became oil absorbing half way through the process, and the point almost prevented me going further. Professor Chen suggested I use Van Gogh brand of water soluble colors, after scraping the, the moistened effect should be better.
　　7. Zhuangzi – Slaughter the Turtle, 210 x 280 cm, oil on canvas, May – June, 2005 (page 21)
　　This one was completed the fastest among these series (less than two months), yet I remember I was somewhat unsatisfied with it, because it did not surpass its previous painting in terms details. This painting was later collected by the school, and I didn't feel too much “regret”. (How could my thinking at the time be so ridiculous?) I even questioned how could Tan Ping spot that painting in the entire series? Fabrics, bricks, sofa and other objects were expressed without difficulties because of my previous experiments. Since I had the easy, so I didn't care as much. Although from today's point of view, this is a painting that best transgressed the creative ideas of the entire series. The sofa symbolized imperial power, without the person on the thrown; the opened books on the sofa symbolized knowledge - one can only be a ruler with knowledge, although the ruler is also in control of knowledge, and the right to disseminate it. The sofa had the looks from the 1970's; the red plastic material is something I am familiar with. (When I was young, we had a sofa like this at home) The golden color doll on the sofa handle implies the robe of the ruler, with the opened pages, all symbolized the temporary absence of the ruler. The one holding a staff symbolized the witch, someone who advices the ruler. The one presenting the turtle might be a fisherman, who had an ambiguous look, he looked like someone who executed verdicts, and was also an unconditional protector. The pavement on the ground is made of red bricks and rocks found from construction sites, mixed among them, there are also bricks from the Qin and tiles from the Han that Qingfeng brought back from Xi'an, each signifies surging forward in modern society, and the decay of past cultures. The background for the story is a night scene around Huajiadi area. For example, the setting on the theatrical stage. Turtle is a natural god, which was the most luminous part. It represents impossible existence and belief – extinction reverence.
　　In order to find a sofa embodies such characteristic, I rode my bike around all residential areas close to the art academy, and finally found a heaven of sofas in the northern section of Huajiadi Xili. There were various kinds, in all shapes and forms with different characters. And this sofa was the most square and most “official” one. The seating part had opened up. It was found in a small corner where old men hung out and played cards. Even that old man did not like to sit on it, so they generously “lent” it to me. I was pedantic, and told them I will bring it back. But when I went back, the area was already circled to have the land evened out, and getting ready to build a new residential area. Those old men were also nowhere to be found. It was an area close to Nanhu Cinema.
　　8. Burning, 250 x 145 cm, oil on canvas, 2005 (page 22 - 23)
　　9. Nanhu Cinema, 50 x 85 cm, oil on canvas, 2006 (page 25)
　　10. Herding at Night, 280 x 210 cm, oil on canvas, 2006 (page 27)
　　Becoming a teacher at the Academy was smooth sailing, although I have always been clear with my determination that I had to continue painting diligently, which by then, have already became a habit in my life, a momentum. During the graduation exhibition period, I began to paint Burning. It was a scene depicts burning trash that I encountered while looking for a sofa, and I shot the scene with my small Canon camera in different exposure levels in order to show the objects differently. These depths can help me to remember.
　　Coincidentally, I found the right stretcher frame, and began to scrape on it with heavy colors. This painting began in the summer of 2005 and lasted until the fall of 2007. Mr. Jin Shangyi came once to see this painting, and said the fire was well portrayed, even though the old man looked quite frail, but when speaking of painting was full of rigor. That was around the end of 2006, only a few days later, did I discover that Mr. Jin's wife had just passed away.
　　It was around then, galleries, curators, collectors began to come to see my paintings, and discuss prices with me and also possible collaboration. I began to sell my paintings, soon when I first held a thick wad of renminbi in my hands, I felt an excitement. I met with that collector at the Five Continental Hotel. After I came out, I asked Qingfeng to come. I kept part of the money to myself and sent the rest home. My parents became less discontent with me for becoming a professor at the Academy, and not returning to find work in Shanghai.
　　A life of selling works began, the price of my works were climbing. I asked myself if it were happening too fast? And I realized my friends' prices were not any lower than mine, so I thought perhaps I started too low? I came to the conclusion that it must be a consequence of the current circumstance – as the water rises, the boat does too. I think we are encountering a mad era. All of this is directly irrelevant to your art, yet somehow related.
　　The bubbles are certain present. And there is a lot of it. Many advantaged “artists” are using large production means to yield their artistic “product”, and package themselves as stars in order to get fit in to the system of artistic pageant show. Art has been made to an entertainment and market, people from all walks of life are active, I despise all these.
　　I think good works should come from within, which is a difficult thing to do. It should be done gracefully, it should be achieved with reflections and efforts, it should not be easy and superficial. It should not be a “trick” that gains instant success, or can be easily replicated, and then fall in the cycle of endless replications and exposures. I despise that.
　　A close friend of mine, Liang Shuo came back from Europe, and we had dinner at Tanzhou restaurant. His interest has always been focused on space and concept, I asked him if there were any good art works worth seeing, he said, “Vermeer!” then he thought more and said, “there is someone else, at the beginning I thought it was photography, but looking closely, I realized it was painting. Not like that of Shi Chong and Leng Jun, it's hard to explain, technically outstanding, and the image is flat, you almost can detect his brushstrokes. Yet, it's been painted.” These words I remember clearly, I tried hard to fill in the gaps with my imagination, and trying to compose such simplistic attraction. I was intensely absorbed by it, without any “concept”, it would be painting photographs, to paint an interesting and indispensable scene. That's when I began to paint Nanhu Cinema.
　　This cinema was initially a cultural center for the workers of Nanhu Brick Factory. The Central Academy of Fine Arts suddenly moved to Nanhuqu in 1995, and this cinema was the one and only place for entertainment in the surrounding area. (The students' discovery of the discotheque behind Lido was later on!). I saw a few films there, it was quite inexpensive. Later, when all cinemas raised their ticket prices, it was still very cheap there. Most of the audiences were farmer worker, with a few students. The décor was decrepet, and the audience lacked manners, at the end of the movie, the floor is covered with a thick layer of sunflower seeds' shells, like a layer of carpet.
　　Soon after I began teaching at the academy in 2005, I was given with a semi-basement dorm room located close to the cinema where I have not visited for five to six years. I would often pass by it on, or from my way to work. The cinema no longer showed films. The old residents at the brick factory were also stripped, and replaced with beautiful residence buildings. The cinema looked like an old publication, shelved in between fashionable and new books – out dated. The photographs of this cinema was taken while I was taking a walk, out of curiosity, I took it when I look through the glass door, (the lower right corner of the painting are old style handles). There were yellow lights inside, as if someone was living there; the welcoming pine inside still looked sturdy, and staring at it would make one want to cry. The lined pond along the wall must have been built later; they did not seem to be there in the first place. The cement floor is the earliest kind, it is reflecting a shiny green after been walked on repetitively, as smooth as jade. It was also what I have meticulously readjusted on the image later.
　　To dig out the photograph and paint it was almost a momentary impulse, however I never thought finishing this small piece would be half a year later. At the beginning, the cinema was not torn down, so I painted on and off, and thought whenever I had time I could go back and look at it. The next time I went, it turned to a pile of bricks like a small mountain! A backhoe's mechanical plow leans exhaustedly on the pile of bricks. Soon later, it was cleaned out, and covered with lawn, and planted a few toothpick-like trees, and made it into a small garden for the residence. And for me, there were only photographs left to remember, to paint the old style fluorescent light from my memories, and the righteous welcoming pine, and the old cement floor as smooth as jade.
　　Most people use photographs to achieve the “flat, tame and indistinct”, where as I am trying to paint the “indistinct” photograph “clearer”. I like to fill in the blanks. The impression was rendered almost on the first round, and after two three times, it was enriched. Yet I was still unsatisfied. I can't clarify what I wanted, only that I know it's not easily achieved.
 
　　I began to refine it over and over again, paint, and readjust. The legendary Houyi first practiced looking at bugs before practiced archery, to see bugs as big as carriage wheels would make archery easier. Photographs will do the same. To identify the unclear parts, and see with simplify of what's complex. And the brush was getting thinner the more I used it. The Dutch water soluble colors allowed me to manipulate my techniques well! The time spent on such small painting was excessive, my wife was angry with me, and thought it was unnecessary to spend so much time and energy on a small work. Overall, I have spent over two months on it, which was enough to paint a large work of two three meters.
　　In fact, it is a kind of joy if a painting can allow you to put in the effort. To paint a work like this is like the famous clause in Buddhism, “find any stone and make it into a mirror”. I suddenly realized, attitude was important for becoming a person, or painting. The subject and a distinct topic are decided with fate. As a free person, the biggest freedom is to be in control of your heart, and moderate the way and attitude to deal with things. Art is like life. Many people are rushed to find their own topic and form, the so-called “style”, so-called “king at conquered hill top”, so people would remember him, in my view is only “following “the finger pointing to the moon”.
　　Nanhu Cinema took part in the 2006 Art Beijing, Chinese Art Today, and the CAFA group exhibition at C5 gallery, and the response received was good. My good friend Wang Bing said, “It is a work that captivates the mind upon seeing.” Li Xu said, “This is a work with the power of a film”. Professor Sun Jingbo saw my work in the studio, and said it was the most complete and most legitimate work. Professor Chen was the earliest to ask, “Was it done with a photograph?” he seemed uncertain, yet in his words there were factors of encouragement, “you could have made the fluorescent light brighter!” He had painted fluorescent lights that should have the right of speech. Although Professor Ma (xiaoguang) was the most direct, “Don't sell it to those nouveau-riche, they don't necessarily understand it. You probably will never paint another one like this!” This painting was sold in October, 2007 to pay off my mortgage, I was very very sad, even though it was collected by an old friend of mine.
　　Herding at Night, a.k.a. Traveler in a Cold Winter Night, done with the sketcher frame from the left over of my graduation painting. I found a horse bone rack in the storage for the freshman class. It was a very exciting visual experience. Each horse bone is marked with the brush of its serial number, like a relic, perhaps it was the heritage from the old academy. I brought it to my sketching class, and placed it with the model. A few students did quite well with their composition, although none of their works was especially satisfying. I wanted to paint more myself. Since March of 2006 to the end of May, and I softened the colors twice in July and August, all done quite smoothly, and my intension came across in its entirety. The bricks and the wilted grass for this work were carried to the studio by two undergraduate students. The look of the model was exactly what I wanted, and everything went quite smoothly. It was no longer the fables of Zhuangzi, but the simple fable on the city. The shattered bricks were still subversive, underscoring construction and the city in reality; the wilted grass like that of Song painting, a metaphor of the long passé traditional culture; and the horse bone implies the deterioration of agricultural culture. The old man leading the way, frail yet enlightened, a man from reality. Ragged clothes, makes it somewhat illusory, his gaze is fixated, without where the future lies. The city behind him is constantly demolished and expanded. In the middle, an open space, mysterious place in darkness. My friend Wang Bing said that the distant background is too realistic, the shattered bricks at the front is already solid enough, and background could be darkened more simply and vacuously, he talked about the background manipulation of some Carravagio's later works in Italy, and I thought he was right about it. Before I even made any changes, the painting was already sold. I will keep those ideas for later! I think the flaw of this painting is that the meaning is too direct, yet it's hard to say, its strength can also be between directness and roughness. Wang Huaxiang looked at it and said, “The realistic language can be used for something meaningful” To this point, I agree.
　　11. Skull and Butterfly, 40 x 80 cm, oil on canvas, 2005 – 2006 (page 29)
　　It was done during Herding at Night, technically it is my attempted practices, the upper left corner is flawed.
　　Series on Huang Mountain (page 31 - 35)
　　The summer of 2005, I backpacked my paint box to Huang Mountain. (A bit like I traveled throughout the country when I was 20 years old, at the time, I just passed my college entrance exam, it was said to be traveling, but more accurately, it was like being a nomad) I liked Huang Mountain at night, and I tried to make a few.
　　12. Ocean at the End of the World, 60 x 60 cm, oil on canvas, 2005 (page 31)
　　I left at three in the morning in order to see the sunrise, walking on a pitch dark mountain path, a few travelers from here and there, people walked orderly and spoke quiet, quite different feeling. Climbing from Cloudy Staircase to the Platform of Brightness, and it was around the Flying Stone, we looked out west, and met the West Setting Moon! An endless ocean of clouds, the moon was glowing splendidly. Stone peaks appearing on and off among the waves on the ocean of clouds. The moon at the end of the world, as clear as ice, as clean as jade, the cold air surrounds people; below the clouds, the stratified rocks were in ranges of rocks, like hell, trying to take people down. Later, I read in Anderson's novel, Ice Girl seems to have portrayed similar environment. My painting in the end, showed a tamed and nuanced rendering, not majestic enough, although the ambiance created was rich.
　　This series of paintings remind me of the picturesque photographer, Lang Jingshan. And even closer inspirations such as, Friedrich.
　　13. Light at Moon Rise, 140 x 140 cm, oil on canvas, 2005 – 2006 (page 33)
　　A rather sacred piece, the composition is perhaps quite conservative, although its end result was not bad.
　　It was like dreams arose the northern sea, the moon rises from the east yet blocked by the tame sun of the mountain peaks, there were semi-translucent moon rising. The difficulties of this painting depends on the texture of the light across it, it was edited repetitively.
　　14. Misty Mountain, 120 x 180 cm, oil on canvas, 2006 (page 35)
　　Technically not too bad, although the composition is mediocre, I don't really like it.
　　15. Looking Out to the Endless Ocean, 150 x 200 cm, oil on canvas, 2006 (page 37)
　　In the spring of 2006, I took the students to Yangma Island in Yantai, Shandong. Lao Yuan always liked to park us at one particularly place by the ocean to paint. I drew a few works with stones, and was slowly getting bored, so I stared into the ocean observing the color change. When the students just saw the ocean, the compositions of their works in the first two days were all the same – of the horizon. It's understandable, everything on land is so miniscue, feeble, and insignificant comparing to the sea. The ocean has a life - busy and diligent, and once you have stared at it for a long time, it's easy to daydream. Especially at sunset! Life is unusual, but she's eternal. This painting is still being edited until this day, and the visual effect is gradually approaching its initial intension, I've been painting it on and off for two years! The thick canvas is already been primed flat, and became heavy to lift. When I paint, I often think of two people, one is the Japanese photographer, Sugimoto Hiroshi; the other one is Zhan Ziqian's Spring Travels. There is someone else I can't think of: Lopez. The former two are for referential purposes, I am hesitant to think of the latter is because of the depth in his work.
　　16. Crying Kid or Startled Toad, 160 x 140 cm, oil on canvas, 2004 – 2007 (page 39)
　　A work inspired from my childhood experience of capturing frogs and the suddenly discovered the molded Fengxiang clay figurines in the basement. The photograph of the crying kid is not clear; I finished it anxiety, sort of passive. When it was showed at C5 gallery, some one liked it and wanted to buy it, although I still felt it was uncompleted. I took it back, and primed it and restarted it, it was covered over two three times. The frog and the dried leaves were facsimiles of live objects; it was done with much more focus, ease, and grace.
　　At the time I was reflecting on the piecing together of figures in the painting.
　　This painting lasted a long time, from November 2004 to the end of 2007.
　　17. Startled Monkey, 350 x 140 cm, oil on canvas, 2006 to now (page 41)
　　There was a piece of canvas fitting this size, although I began to gradually despise this kind of canvas.
　　The long vertical composition originates from hanging scrolls of Chinese ink painting. Initially I wanted to paint three strips, however, the upper and lower section of this painting is disconnected, it's flawed, it has been paused for further observation.
　　18. Old Boy, 235 x 175 cm, oil on canvas, Jan – May 2007 (page 43)
　　A periodic summary on my figurative paintings. It was inspired by my experience of selling paintings and buying a house. Liang Shuo joked and said that the crying kid is young Lu Liang, and this is the old Lu Liang. Old Lu Liang is somewhat unsuccessful, who abruptly sat on the wrapping bubble material for paintings, which's lost his shoes, and the townhouse behind him was not built, and the tree symbolizing wealth has already dead. It was done with considerable clumsiness, and the topic was the obliterating reality or a loss of absurdity.
　　19. Coal Storage, 90 x 68 cm/ 285 x 480 cm, oil on canvas, 2007 (page 47)
　　This is a small painting of the interior continuing from Nanhu Cinema, and is still progressing. Compare to the cinema, many cultural motifs have been removed: welcoming pine and etc. In other words, even thought the theatre was decrepet, it alone is an cultural embodiment of a special era. At the coal storage, spacious, the subject was much more simple – the topic of energy implying the existence of humanity. When I first stood under the neon lamp in the coal storage, the small coal pile hid in the back, coal pieces sparkled like gems. The storage was frigid, but implied a tremendous amount of energy. How can it be so familiar yet so distant! I decided to paint it, in hoping it would surpass Cinema. Thus far, I have almost completed the smaller size, yet still not quite pleased with it. So I cut out a three meters by five for a larger version. It's like a project! In order to achieve distant viewing and closely “examining”, will perhaps take me an entire year. Since I have already started, I don't care! I think I must have gone mad!
　　20. Wild Rose, 150 x 110 cm, oil on canvas, 2007 (page 45)
　　The painting is inspired by Johann Wolfgang von Goethe's poem, Wild Rose. Depicting two kindergarten teachers in the suburbs of Beijing, local girls who are naïve and simple with a tinge of complexity. It reminded me of the people and things when I was in middle school at Nanqiao, Shanghai.
　　21. Brick Pile, 200 x 360 cm, oil on canvas, triptych, 2007 – now (page 48 - 49)
　　If the coal pile is still awaiting for its time, without seeing the light at the end of the tunnel, this piece of the
　　22. Reflection of an Old Man, 240 x 160 cm, pencil on paper, 2005 (page 51)

作者：陆亮