空中花朵之一 油画画布

FLOATING FLOWERS I Oil on Canvas 2006 140X200cm

　　深棕色的背景强调了这幅作品的特别之处，微弱的光晕，星星点点从破碎的背景中流泻出来，仿若大地裂开，奇光四溢。画面中粉色的玫瑰就要被吞噬于它们最后的栖身之所， 成为人类对自然伤害最后的牺牲品了。生命的意义在这个时刻被无限放大，艺术家的思想在画面中得到了实现。

　　The dark brown background is used to stress the feature of this piece. The soft light seeping through the breaking background as if the ground is breaking and a strange light is coming forth. The gorgeous rose will be swallowed at the last place where they stand and become the last sacrifice for the sins that humans commit by destroying nature. The meaning of life is infinitely magnified here. The internal reflections of the artists are being realized.

空中花朵之二 油画画布

FLOATING FLOWERS II Oil on Canvas 2006 80X100cm

　　吕顺从来都是用小笔作画，二号三号的油画笔上抺一点点颜色自然地摆在画布上。他对色彩有神奇的驾驭能力，总是把诸如普鲁士蓝，群青这样凶猛的颜色幻化成虚无缥缈的优雅，却吸引观者的眼睛徘徊不去。

　　Lv shun has always used small brushes—no.2’s and no.3’s. He dabs them with colors and place them onto the canvas as if they naturally belonged there. With his amazing sense of color use he can even tame fierce colors like Prussian blue and Ultramarine blue and making them work and becoming ethereally elegant. That little bit of red in the background isn’t approachable by the viewers but it attracts theirs eyes and refuses to go away.

空中花朵之三 油画画布

FLOATING FLOWERS III Oil on Canvas 2007 55X160CM

　　若失根，花朵如何生长？玫瑰挣扎在苍穹之下，是美好，抑郁或忧伤？变异的小生物难道没有闻到死亡的气息？艺术家的意念一点点在对画面的追问中浮现。在艺术实现的过程中，吕顺使画布逐步延伸，成为他和观者的一座桥梁，这座桥梁宛若彩虹，飘忽不定，却带来更多角度的欣赏和解读。

　　Without roots, these roses are struggling to grow under the oppressively deep blue. Is this scene wonderful, repressive or sad? Can these mutated creatures smell death? The will of the artist is slowly revealed on the canvas by asking those questions. By creating, Lvshun uses the canvas, which extends toward the viewers, and he uses it as a bridge to connect to the viewer. The bridge is light and airy like a rainbow, but it brings more mysteries for the viewers to decipher.

　　面对这样的作品，观者的眼睛变得无所适从，似乎能处处着眼，却又无从看起，画面上并没有固定的视点把视线集中在一起。这也许和艺术家曾为摄影师的经历有关，因作者的视点一直在移动，我们也只有随之而动，在视觉的愉悦中得到观念的互动。

空中花朵之四 油画画布

FLOATING FLOWERS IV Oil On Canvas 2007 250X80cm

　　Looking at this piece, the viewers’ eyes are wondering all over the place. It feels like there are starting points everywhere, but on a second look there doesn’t seen to be any point to help the viewer start his appreciation. There isn’t a focal point on the canvas to attract the eyes of the viewer. This may have something to do with the fact the painter used to be a photographer. The view of the painter is constantly moving and the viewer has to move with it. The visual pleasure will help the viewer interact with the painter and exchange their views.

空中花朵之五 油画画布

FLOATING FLOWERS V Oil On Canvas 2007 120X160cm

　　无根玫瑰，实在是对人类无声的反抗。空中花朵，这美好的名字也暗含危险的隐喻。艺术家捕捉到生物对环境破坏最本能的反应，捕捉到带着些许温情的生命体验，用极为个人化的形式语言体现在画布之上。不是强有力的冲击，却深深镌刻在观者的心上。

　　A beautiful bouquet of roses sings a silent song of resistance towards humans. The name of this painting “floating flowers” hints danger lurking around. The artist captured the instinctual reaction of life forms when their environment is being destroyed. He has experienced something warmth in his life and he puts it on canvas with a very personal language. It doesn’t hit the viewer with a strong impact, but it certainly makes a deep impression on the viewer’s heart.

幸福时光之一 油画画布

HAPPY HOUR I Oil On Canvas 2006 300X200cm

　　吕顺说：“人生充满了伤痕。变化以后的城市，人除了欲望之外还剩下什么？” 猪本身充满欲望，画面中的猪粉嫩得让人不得不对它们也充满欲望。他们的小眼睛充满了怀疑，但在不着边际的垃圾场中，在一种绝望面前，他们只有转身相迎，怡然享受没有明天的幸福时光。

　　Lv Shun once said: life is full of scars. In a ever-changing city, what can people do aside from endlessly trying to fulfill their desires? Pigs have desires too. The pigs portrayed here look so tender that the viewer can’t help feel some sort of desire toward them. Filled with suspicions, these pigs gaze at the viewer with their beady eyes. However, in a garbage yard without escape, they can only turn and face the hopelessness and enjoy this temporary happiness. Tomorrow will never come.

　　　　忧郁的深色背景是城市边缘的垃圾场。拟人化的猪群点缀于其间，各自行乐。画家透过对普通极致灿烂的描绘，诠释了他对生活的另类思考，远远超脱于实境之外。一种理想主义者对现实的忧虑惆怅之情，通过画面弥漫开来。

幸福时光之二 油画画布

HAPPY HOUR II Oil on Canvas 2007 300X200cm

　　The garbage yard at the edge of the city is depicted with a dark and melancholy background. The humanized pigs exist inside and each pig is doing whatever it can to survive life. Through his vivid portrayal of unclear thought and action that people do, the artist shows the viewer that his alternative thinking is beyond our conception of what reality should be. Slowly the idealist’s worries and anxiety for the reality are being revealed on the canvas.

天籁之声之一 油画画布

THE SOUND OF NATURE I Oil on Canvas 2006 300X200cm

　　书画中的青蛙层层交叠在一起。异化后的生物甚至拥有了人类的某些特征，仿若女人体横陈在城市垃圾之上，在绿色的背景中若隐若现。之于他们，求偶的鸣叫也许就是最动听的声音，这次幸福之后，不知天籁之音是否还能响起？

　　These frogs are on top of each other. These mutated creatures seem to have some characteristics of human; together they seem to resemble a woman’s body, barely visible, lying on the garbage heap from the city. For these frogs, the mating call is the most beautiful sound. After this moment of happiness, can they ever hear the sound of nature calling again?

　　“真正的艺术家应当如天使般关照人类，许多事物在他们眼中都被人性化了。”吕顺突然说出这震撼人心的话。对他而言，从事艺术创作是一件可以产生超快感的职业。虽然更多的时候他要等待，正如对话需要适当的平台一样。绘画需要一种基调气息和浮动的空间。天籁真的是由青蛙唱响？

天籁之声之二 油画画布

THE SOUND OF NATURE II 2007 450X250cm

　　“The real artist should care for people like angles do. They certainly humanize many things.” That’s Lu Shun’s shocking statement, which came suddenly. Art to him is a profession that produces an ultra high. It often takes time for him to wait and find the appropriate place to express just like there are proper times and places for saying different things. Now one wonders if the frogs really sing the sounds of nature.

　　处于画面最底层的猫受制于强大的外力，几乎要压进背景中，惊恐的双眼预言着世界的尽头。吕顺在多幅作品中都采取了类似的方式，把物象和背景无止尽地拉近，观者被自然地隔绝在画面之外。他的作品有足够的自由度去包容理性和感性的反差，看似幽情弥散的画面上却暗含着对社会、对人生的深刻思考。

猫！油画画布

Cat! Oil on Canvas 2006 50X140cm

　　The cat located at the bottom of the canvas is being pressed and squeezed into the background by an extremely powerful external force. Its fearful eyes are foreseeing the end of the world. In many of his works Lu Shun uses the same method to pull the subjects and background infinitely closer and in term, separates the viewer from the canvas. His works tolerate the differences between the logical and the sensual. The pensive canvas triggers deep thoughts on life and the society.

最后的晚餐 油画画布

The Last Supper Oil on Canvas 2007 300X200cm

　　色彩暧昧的小猪危襟正坐在本应属于耶稣及其门徒的场景中，餐桌上的猪蹄似乎说明了犹大的去向，耶稣本人不知所从。“最后的晚餐”的神圣意义在瞥见画面的一瞬间消失无踪。艺术家用既有的元素建构了一种有新意的书面形式，从一个更加理性的视角重省创作，重省生活。

　　The Last Supper Oil on Canvas 2007 300X200cm

　　The ambiguously pigs are sitting in where Jesus and his disciples are supposed to be in uptight positions. The pig knuckles on the table seem to indicate where Judas probably is, but Jesus is completely missing. The sacred meaning of The Last Supper disappears on sight. The artist creates a structure with new meaning using existing elements. He is viewing creation in a more logical angle and reflecting about life.

消失的风景 油画画布

Vanishing Scenery Oil on Canvas 2007 300X200cm

　　在吕顺的作品中，物质步步消退，无意义的电线杆成为画面的主题。这和艺术家在宋庄的生活有关。他不止一次地说起电线杆下的生活。既然我们只能看到灰白色的天空和灰白色的电线杆，那我们也不会关注离风景究竟有多远。艺术家在这幅作品中找到了形式语言表达的另一种方式，以更加理性的视角洞悉艺术和生活。

　　In many of Lv Shun’s works material things gradually devolve. In this case, the meaningless utility poles have become the subject of this piece. That probably has something to do with his life at Shuang Zhuang. He often mentioned of life under these electric poles. If gray shy and gray poles are the only scenery the viewer can see, he of she probably won’t care much how far the scenery is.

　　The artist found another way to express the language of forms and presents us a logical and penetrating look into art and life.