2019 ”体外器官” 吕喆专访 | Interview with Lu Zhe
上周六晚，吕喆在其个展开幕酒会中与嘉宾们一起分享了他的艺术创作过程及其灵感，现奉上详细专访内容。
Artist Lu Zhe shared his inspirations with our guests on last Saturday night. Let’s take a look at his personal interview with Noeli Gallery!
1. 此次个展的主题为 “体外器官”，请问“体外器官”究竟是指什么？
吕喆：“体外”泛指人类之外，“器官”则是说明对人类有着重要作用的组成部分，也就是人类之外又与人类有着密切关系的所有一切。
N: This solo exhibition is titled “Beyond Humans”. What does it mean exactly?
L: “Beyond Humans” refers to all the elements apart from human beings, these elements play an important role in human life, they have close connections with the humans.
2. 这次参展的作品几乎都是黑白灰色的，有什么特别的用意吗？
吕喆：色彩在某些特定环境中会削弱被表达主体的客观存在，黑白则使观者更能专注与冷静地去关注被刻画对象的实际状态，去体会其本真。
N: Almost all the artworks are black, white and grey in this exhibition. Do you have any particular intention?
L: In certain specific circumstances, color will weaken and interrupt the objectiveness of the existing objects. I use black and white is to enable the viewers to focus more on the genuine state of the objects that are being portrayed by eliminating the emotions.
3. 您为何要着重描述那些我们日常生活最常见的，同时又是最不起眼的一些小物件或者是那些被废弃的物品？
吕喆：如所问，正是由于这些所谓的不起眼小物件被我们常常忽略，因而我们在创作中常常不会很严肃地去将其纳入创作题材。即使有，也以小品居多，这一系列作品我就是要就是将被我们忽略的内容以一种高调的形式展示出来，并赋予尊重。
N: Why do you keen on portraying the most common and inconspicuous or even discarded objects in our daily life?
L: As you asked, this is exactly my purpose to do so. Since these kind of things are often forgotten or overlooked to be included in the art creation in a serious way. Therefore, I want to represent them as a high-profile intention in order to pay enough respect.
4. 能与我们谈谈“海的变量”的创作想法吗？您为何要选用旧木板来进行创作？
吕喆：木和水本身是人类重要的体外之自然物，承载了人类文明发展的很重要环节。海平面的风云变化也映射了人类的生命进程与状态的波动。我用旧木板进行创作，在保留旧木本身的一些木纹肌理的同时，也想从材质、题材、绘画手法等多个角度去统一整件作品。
N: Could you talk about “The Variable Sea”? Why do you choose to make this piece on old wood?
L: Wood and water are two fundamental elements around human beings, they play a significant role in human evolution and civilization. The changes of wind and clouds at sea level reflect the fluctuation of the course of human life and the state of mind. I kept some the original texture of the old wood in my creation, attempting to integrate the whole piece with its material, subject and techniques.
“海的变量”局部 Part
5. 您想通过作品“被遮盖的大卫“ 和 ”黑脸的大卫“ 表达些什么？
吕喆：这个“大卫”其是一个被遗弃了的学生艺术创作试验品，被我“艺术回收”了一下。 我花了很多的时间去创作这两幅有关“大卫”的作品。由于“大卫”作为美术院校经典的临摹和习作对象，我在对它进行再创作时，不能仅停留在美术习作的程度上。经过反复的调整，我要使我的“大卫”既要有形体的同时又要体现出一种松散适宜的感觉。被我 “回收”的这个“大卫”脸上本来就被弄上了一些黑色雕塑材料，为了防止落灰，我覆盖了一块白坯布。最终，我选取了这两个镜头去刻画被我“回收”了的“大卫” 作品。
N: What do you want to convey through the “Covered David” and the “Dark-faced David”?
L: I found this “David” from the discarded experiment from a student and I “recycled” it and reused for my art. I spent quite a lot of time on painting them, as I need to make sure they are not only physically impeccable, but also go beyond the level of “art study practice” in my own perspectives. My “David” is more relaxed. When I found this “David’ in the waste, his face was originally covered by some black sculpture materials. I covered it with a white cloth to keep it clean, and finally I selected these two “clips” for my own creation.
6. 您接下来有什么新的创作方向与思路吗？
吕喆：我会继续这一系列秉承的观念和想法，并会一直延续这一主题，但或许将来在作品表现方式上会有新的变动。
N: Could you please talk about your future steps?
L: I will carry on this series under my concepts, perhaps I will challenge myself to make some new changes in the ways of expression in art.
