盧偉旋

藝術(shù)家、策展人，生活工作于深圳

2024深圳市五一勞動獎章獲得者

中國美術(shù)家協(xié)會會員、二級美術(shù)師

中國文聯(lián)青年文藝創(chuàng)作扶持計劃項目獲得者

北京當代中國寫意油畫研究院特約創(chuàng)作員

廣州國家青苗畫家培育計劃畫家

盧偉旋的藝術(shù)探索：創(chuàng)作語境中的“懸而未決”

Lu Weixuan’s Artistic Exploration: The “Unresolvedin the Air” within the Creative Context

文/高楠楠

By Gao Nannan

與藝術(shù)家盧偉旋相識數(shù)載，作為朋友和一個旁觀者，能更真切的觀察到他近年的創(chuàng)作狀態(tài)。對于他的創(chuàng)作熱情，由衷的感到欣喜與感動。作為一名青年藝術(shù)家，他在當代語境下進行持續(xù)性的創(chuàng)作實踐和探索，構(gòu)建了鮮明的作品面貌和藝術(shù)特質(zhì)。如何定義他的創(chuàng)作方式的獨特性，斟酌許久，“懸而未決”一詞，我認為是恰當?shù)摹?/p>

Having known the artist Lu Weixuan for several years, both as a friend and an observer, I have had the privilege of witnessing the evolving state of his artistic practice at close range. I am genuinely moved and inspired by his passion for creation. As a young artist, he has continuously engaged in creative practice and exploration within the contemporary context, developing a distinctive visual language and artistic identity. After much deliberation on how best to define the unique quality of his creative approach, I find that the term “Unresolved in the Air” is especially apt.

盧偉旋《秘境之一》 90×120cm 布面油畫 2015

“懸而未決”一詞出自孫中山先生《救國之急務》文中，意指未解決或待解決的問題。以此意味描述盧偉旋創(chuàng)作過程的“不確定性”，恒久處在“生成”中，或前進、或后退的狀態(tài)，很是契合。藝術(shù)的獨特性在于其不可預見的未來性，而這種未來性正是從當下的不完全性中涌現(xiàn)出來的。盧偉旋的作品，正是在這種“未來性”與“懸而未決”的狀態(tài)中不斷生長，形成了一種對現(xiàn)代都市社會、歷史以及自我內(nèi)心世界的紀實回應與反觀。20世紀美國藝術(shù)理論家克萊門特·格林博格在《自制美學》一書中對現(xiàn)代主義的反思也有類似的觀點，他認為“未完成性”恰恰是藝術(shù)生命力所在。這一觀念也引申出筆者欲探究盧偉旋創(chuàng)作中“懸而未決”獨特性的緣由。

The phrase “Unresolved in the Air” originates from Dr. Sun Yat-sen’s On the Urgency of National Salvation, where it refers to issues that remain unsolved or pending. In Lu Weixuan’s creative process, this sense of indeterminacy—of being perpetually “in the making,” oscillating between progress and retreat—is particularly resonant. The uniqueness of art lies in its inherent unpredictability, and this futurity emerges precisely from its current state of incompleteness. It is within this condition of “Future Potential” and “Unresolved in the Air” that Lu Weixuan’s work continuously evolves, offering a documentary-like response and self-reflection on modern urban society, history, and the inner world of the self. Clement Greenberg, a prominent twentieth-century American art theorist, expressed a similar idea in his book Homemade Aesthetics, suggesting that it is precisely the sense of incompletion that endows art with its vitality. This notion also forms the basis for my inquiry into the unique “Unresolved in the Air” quality that characterizes Lu Weixuan’s artistic practice.

盧偉旋《有光的地方》449×147cm 綜合材料 2024

盧偉旋《與物觀物系列》尺寸可變 綜合材料繪畫 2020-2025

“懸而未決”首先體現(xiàn)在他的藝術(shù)風格中。盧偉旋的繪畫作品常以不規(guī)則的幾何方塊為基本單位，通過色彩的層疊與形狀的交錯，營造出一種視覺上的不確定感?！队泄獾牡胤健繁闶沁@一特質(zhì)的系列代表作，交錯的色塊與幾何形態(tài)反映了內(nèi)心的極致思考與豐富性。畫面中的元素并非明確的符號，而是在不斷變化中形成一種未定的狀態(tài)，仿佛所有構(gòu)成元素都在“懸而未決”的時刻被喚醒與重構(gòu)。這與立體主義、抽象表現(xiàn)主義的藝術(shù)家如畢加索和波洛克相似，他們通過解構(gòu)傳統(tǒng)繪畫的穩(wěn)定性，探索動態(tài)與多重視角的表達。盧偉旋在此基礎上，擴展了這類概念，不局限于形式的實驗，也讓情感和思想成為作品的核心，使每一幅看似“懸而未決”的作品都成為開放的敘事空間，呈現(xiàn)出個體經(jīng)驗與社會環(huán)境之間具有張力的藝術(shù)。

The notion of the “Unresolved in the Air” first manifests itself in Lu Weixuan’s artistic style. His paintings often employ irregular geometric blocks as fundamental units, building up a sense of visual indeterminacy through layers of color and the interplay of forms. Where There Is Light stands as a representative work in this vein: interwoven patches of color and geometric configurations reflect an intense inner contemplation and complexity. The elements on the canvas are not fixed symbols, but rather exist in a perpetual state of becoming—constantly shifting, as though every component is being awakened and reassembled in a moment of uncertainty. This approach resonates with artists from Cubism and Abstract Expressionism, such as Picasso and Pollock, who deconstructed the stability of traditional painting to explore dynamism and multiple perspectives. Expanding on these concepts, Lu Weixuan not only experiments with formal qualities, but also brings emotion and thought to the very core of his practice, allowing each seemingly “Unresolved in the Air” work to serve as an open-ended narrative space—art that embodies the tension between individual experience and the surrounding social environment.

盧偉旋《記得的是唰唰的雨聲》150×150cm 綜合材料繪畫 2024

“懸而未決”同樣體現(xiàn)在他創(chuàng)作的持續(xù)性和反復推敲上。盧偉旋有一句口頭禪：“還沒畫完”、“還在畫”。盡管已經(jīng)是畫了2年的作品，每一筆、每一個細節(jié)，仿佛都可以覆蓋、疊加并完善，只有這種游離的反復，才更加貼切的傳達出內(nèi)心的真實情感，得以構(gòu)建自己所追求的自由語境。費孝通先生在《鄉(xiāng)土中國》一書中提出：“語言和文字亦或是圖像只是傳情達意的一種工具卻并非唯一的工具。而這工具本身是有缺陷的，能傳的情能達的意是有限的”。[1] 盧偉旋去創(chuàng)作一件作品是因為他有話要說，而他所想說的話很難通過語言，文字或是圖像準確的傳達出來。他通過作品去說出他想說的話，去傳情達意。這需要作品能準確的傳達出內(nèi)心最真實的狀態(tài)。然而這種狀態(tài)卻不是固定不變的，是有階段性的。因此他的作品總處于未完成的狀態(tài)，是動態(tài)的，是在不斷生長的。通過緩慢的創(chuàng)作過程，盧偉旋或許在嘗試回應生活中的不確定性與復雜性，在反復調(diào)整中發(fā)現(xiàn)更多藝術(shù)可能。

The “Unresolved in the Air” also finds expression in the sustained and iterative nature of his creative process. Lu Weixuan is fond of saying, “It’s not finished yet,” or “I’m still working on it.” Even for works that have taken two years to complete, every brushstroke and every detail appears open to revision, layering, and refinement. It is precisely through this ongoing, exploratory process that he most authentically communicates his inner feelings, constructing a personal context of creative freedom. As Fei Xiaotong noted in From the Soil: The Foundations of Chinese Society, “Language, words, or images are but one set of tools for conveying meaning and emotion, and not the only tools. These tools themselves are flawed, and what they can express or convey is inherently limited.”[1] Lu Weixuan creates because he has something to say—yet what he wishes to express cannot be fully or precisely articulated through language, text, or even imagery. He turns to his work to give voice to his ideas and emotions, seeking to communicate the truest state of his inner world. However, this state is never static; it is inherently transitional. As a result, his works remain perpetually “unfinished,” dynamic, and in a constant state of evolution. Through this slow process, Lu Weixuan perhaps seeks to address the uncertainties and complexities of life itself, discovering new artistic possibilities through continual adjustment and reflection.

盧偉旋《家的地方》 37×26.5cm 紙本水彩 2024

左：盧偉旋《綠色空間》26.5×38.5 紙本水彩 2024

中：盧偉旋《遠處泛著光的影子》38×53cm 紙本水彩 2024

右：盧偉旋《散落的思緒》26.5×38.5 紙本水彩 2024

左： 盧偉旋《物理的架構(gòu)》26 × 37cm 紙本水彩 2024

中：盧偉旋《海邊吹來的風》38×53cm 紙本水彩 2024

右：盧偉旋《爛漫的事》26.5×38.5cm 紙本水彩 2024

盧偉旋的“懸而未決”不僅是創(chuàng)作狀態(tài)的顯現(xiàn)，它更反映其對生活、歷史與個體境況的哲學思考。作為八零后的青年藝術(shù)家，不再滿足于精彩畫面獲取單純的視覺體驗，而更加注重自我的觀念表達。在信息爆炸的今天，所能獲取的資訊讓其視野更為開闊，從西方藝術(shù)脈絡里溯源求真，又傾向于東方哲學傳統(tǒng)體系的回歸?！睹鼐持弧愤@件作品就是典型的東方哲學向內(nèi)的精神求索與浪漫東方的詩意表達，與西方傳統(tǒng)對外的理性探尋的結(jié)合。在東方思辨土壤里生根，于西方方法論體系上開花，他期冀用這種方式讓作品成為對社會環(huán)境與自我探尋的隱喻——緩慢與反復的過程中尋找動態(tài)的平衡與自我，展現(xiàn)對個體與城市社會空間關系的深刻理解。

Lu Weixuan’s sense of the “Unresolved in the Air” is not only an expression of his creative state; it also reflects his philosophical inquiry into life, history, and the conditions of the individual. As a young artist born in the 1980s, he is no longer content with merely producing visually compelling works for the sake of pure visual experience; instead, he is increasingly committed to expressing his own conceptual perspectives. In today’s age of information overload, the vast array of resources at his disposal has broadened his vision, allowing him to trace the origins of truth within Western artistic trajectories while simultaneously gravitating toward a return to the traditions of Eastern philosophy. His work Secret Realm I epitomizes this inward spiritual quest rooted in Eastern philosophical thought, as well as a poetic expression of Eastern romanticism—intertwined with the outward rational explorations of Western traditions. Taking root in the fertile soil of Eastern dialectics and blossoming through the methodologies of the West, Lu Weixuan aspires to make his art a metaphor for both social realities and self-exploration—finding a dynamic equilibrium and a sense of self through slow, iterative processes, and revealing a profound understanding of the relationship between the individual and the urban social space.

左：盧偉旋《桌面上的競技場》60×50cm 布面丙烯 2020

中：盧偉旋《歲月痕跡上的窗戶》60×50cm 布面丙烯 2019

右：盧偉旋《獨處時刻》60×50cm 布面丙烯 2020

“懸而未決”是一種既有狀態(tài)和期望，并不能被其風格化標簽所禁錮，更應在創(chuàng)作星圖中開拓更多未知象限。勤奮如他，那些固化的畫面語匯與符號，不該是束縛靈感的桎梏，反而是“變與不變”的決斷。愿盧偉旋以生長的姿態(tài)游弋于藝術(shù)曠野，保持肆意生長的創(chuàng)造力，在不斷破界的探索中自我超越，綻放藝術(shù)的多元可能和想象。

The “Unresolved in the Air” is at once a state and an aspiration. It should not be confined by stylistic labels, but instead serve as a point of departure for venturing into uncharted artistic territories. For an artist as diligent as Lu Weixuan, the fixed visual vocabulary and established symbols in his paintings should not become shackles for inspiration, but rather conscious choices in the interplay between change and permanence. May Lu Weixuan, with the posture of perpetual growth, roam freely across the vast expanse of art, maintaining his uninhibited creative energy, continually transcending himself through ongoing boundary-breaking exploration, and unleashing ever more possibilities and imaginative dimensions in art.

左：盧偉旋《有光的地方NO.21》 40×30cm 布面丙烯 2024

右：盧偉旋《有光的地方NO.20》 40×30cm 布面丙烯 2024

盧偉旋《造景系列》尺寸可變 綜合材料繪畫 2024

盧偉旋《霓裳》150×180cm 布面油畫 2018

注釋

[1]費孝通《鄉(xiāng)土中國》北京大學出版社 2012年10月

參考文獻：

1、黃彥編《孫文選集》廣州廣東人民出版社 2006年11月

2、克萊門特·格林博格《自制美學》重慶大學出版社 2017年5月

3、晨朋《西方現(xiàn)代藝術(shù)流派書系：未來派》人民美術(shù)出版社 2000年12月

4、巫鴻《作品與展場 巫鴻論中國當代藝術(shù)》嶺南美術(shù)出版社 2005年12月

5、費孝通《鄉(xiāng)土中國》北京大學出版社 2012年10月

創(chuàng)于2014，相伴已成為習慣

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