看吕顺的油画作品，不知怎么，就想起了唐代、诗人和一首写得非常奇特的诗：“花非花，雾非雾，夜半来，天明去，/来如春梦几多时，去似朝云无觅处。”(白居易《花非花》)——也许是因为画面的朦胧，也许是因为色彩的幽美，尽管绘画作品必须描绘，但吕顺让我们感觉的却是幻影。

　　吕顺笔下的场景，似乎总是处在深水之中，或者被浓得化不开的潮气所笼罩，晦暗、幽深、含混而模糊。画家善于把水影天光折射成满幅刻画的线条，如玻璃板破碎后留下的冰裂纹。由此，观者和画中影像终隔一层，处在异样和不无紧张的视觉反馈中。事实上，作品充满古典华丽和东方神秘。花卉、植物如浮藻般迷离而虚幻，在蓝绿背景的湿度与深度中，肉红色的花朵与动物产生出令人眼跳、也令人揪心的色彩效果。无论是斜出的枝尖，还是跃起的昆虫，对观众的视觉都有一种挑衅性。在美丽得令人沉醉的画面中，你会隐约感觉到说不出的恐惧，就象我们面对一片沼泽，优美的景物、深远的雾气，既有诱惑也有威胁。正是这样一种心灵意象，才使得吕顺的作品成为当代人精神心理的透视。这是关于精神的风景画，画家对于个人心理的变化与表达是敏感而微妙的。

　　也许吕顺创作伊始就面临一种危险性，因为心灵化的自我迷幻，往往容易流于审美惯性而缺少动力机制。当然，陷井也就是难度，关键是艺术家能激发怎样的艺术观念与绘画才能。吕顺除了巧妙地呈现心理矛盾以外，其突出的创作构思，就是在风景描绘中着力表现那些充满活力的动物。猕猴、山猫、野猪、蟾蜍、青蛙等等，或者是主角，守护幻想的领地;或者是群体，洋溢繁殖的能力。它们象是湿地中的精灵，熟悉的形象有着令人陌生的表情：惊惧、警惕、戒备与战栗。画家通过这样的描绘，提示出欲望作为生命本质对人的冲击，也提示出精神作为存在本质对人的意义。

　　当代文化以消费、时尚和大众化为主流，必然导致表层化与表徵性，而艺术家立足于这样的文化潮流中，并非只能随波逐流，相反，真正的艺术家必须逆水而行。对个体价值的渴望，离不开对精神深度的追寻。人作为自我精神的丰富与发展，决不是金钱和权力驱动的时尚所能操控的。吕顺作品以其对个体心理的深度体验，反拨这个时代的肤浅，其象征性的图象会给我们带来许多感触和启发，尽管他的画面如梦似云。

　　2007年10月17日

　　四川美院桃花山侧

　　I’m reminded of a strange little poem written in the Tang Dynasty by a poet named Pai Ju-Yi whenever I examined an oil painting by Lv Shun. The poem goes:“It is not exactly a flower and it’s not exactly surrounded by fog; it comes during the middle of the night and it leaves when dawn first breaks; when it does come it comes in the form of endless dreams in the Spring, and when it leaves it disappears like the morning clouds, and after that it can’t be found anywhere.” When we take a look at the works of Lv Shun, we can see the dimness of the pictures and also its dreamy colors. Despite the fact we’re looking at a solid work of art created by human hands, what we see has a phantom-like quality to it. The scenery in Lv Shun’s painting looks as if it were situated under water or covered by one of those thick fogs that people sometimes encounter in a marsh. The scenes are often dim, deep, mirage-like and blurry. Lv has a knack of painting the rays from the reflections in the water as if they were cracks on glass. The viewers are separated from the actual scene by a layer of unusual, otherworldly visual tension. His works are full of classical magnificence and mysterious eastern elements. Taking a closer look, one discovers that, because of the wetness and depth of the bluish-green background, the flowers and plants appear to be distant and shadowy. The fleshy-red flowers and animals have a poignant effect on the viewer. Many elements, such as the tip of a diagonally placed branch, or a leaping insect, challenge the spatial perception of the viewers. Even though the view is dreamy, the sense of fear is sobering. It’s like when we look at a marsh covered with fog and full of fascinating plants; it feels simultaneously inviting and threatening. This is Lv Shun’s psychological approach, which makes any one of his works a penetrating view into the contemporary psyche. His landscape paintings involve a psychological journey that is both sensitive and subtle.

　　Perhaps there’s some kind of danger involved in his creative process, because drowning in a psychological state of ecstasy often causes an artist to put focus on superficial trapping of beauty, and to lose his active self-restrained. Danger, however, is often just another word for “difficulty”. The key issue is this: how can the artist use his talent and his theoretical understanding to pass through the dangers safely and express what he wants to express in his art. Besides presenting his art through mental contrasts, Lv is also able to demonstrate his striking creativity through his lively depictions of animals such as mountain cats, pigs, toads, frogs, and so on. These animals are either the protagonists protecting an imaginary territory, or a productive group showing their reproductive prowess. These creatures are presented as the spirits of the marshlands, expressing unfamiliar expressions such as astonishment, tension, and fear with their familiar shapes. Through his portrayal, Lv shows the impact of treating desire as the one and only ture essence of life, and hints at the importance of making spirituality the essence of human existence. The emphasis in contemporary culture on consuming, fashion and celebrity is causing a sense of superficiality to spread throughout this world. Artists have to go against the current of the pervading culture, and chase after true emotional and spiritual depth while seeking indibidual value. The enrichment and development in the spirit of individuality can’t be truly achieved by trendy fashions, which are based on money and power. Lv’s works reflect the shallowness of this era by showing his deep experiences of the true mentality of the individual. I can only hope his symbolic elements will invoke reflections in us all and provide us with inspiration, even though he communicates to us primarily through dreamy landscapes and fantastic scenery.

Independent Curator Wang Lin

作者：林,王