Theater

剧场

The Theater series is inspired by Robert Wilson's theatre "[Theatre] is an architectural construction in time and space." LU Song superimposes and combines images in an architectural structure, moving between the figurative and the abstract. Plants, figures, geometric forms, and spaces are interlaced and juxtaposed; the work explores the uncertainty of image production, searching for and feeling the strange pleasure of visual fragments and conveying a complex sensory experience in deconstructing and reconstructing images. Among them are landscape and expression, two layers of unrelated images that produce a peculiar visual experience through superimposition, like adding an indication to a landscape or using landscape as an adjective to modify a face.

剧场系列作品受启于罗伯特威尔逊的舞台剧场“（戏剧）是时间和空间里的建筑构造。”吕松将画面按建筑结构般叠加、组合，游移于具象与抽象之间。植物、人物、几何形体、空间交错并置，作品探索着画面生成的不确定性，寻找并感受着视觉碎片带来的奇特快感，在图像的解构与重构中传递一种复杂的官能体验。其中风景与表情，两层毫不相干的画面通过叠加产生了奇特的视觉体验，它们就像给风景加上一个表情，或者用风景作为形容词修饰一张脸。

One of LU Song's creative focuses is painting technique research and experimentation. We are made aware of his paintings' conceptual quality by the Theater series. LU Song recruited filmmakers, actors, models, choreographers, dancers, musicians, and other creatives to collaborate on the series, which began as a cross-border project in 2021. His initial goal was to use group production and improvisation to foster connections between individuals in various fields. LU Song retains the right to decide which portions of the image to remain, even if he does not use paints or take part in the actual painting process. He modifies the contributors' styles by manipulating the image's composition and utilising collage to combine the graffiti of two or three people to create a single, cohesive image. Since then, LU Song has also started to employ this method of image association in his studio works; the only difference is that he produces a new "theater" by fusing images that he generates at various points in time to create a single image.

There is a fractured visual language in this series. This disarray is evident in both the way the text is presented and how the photos are organised. Together, the fragments create a rich and varied visual tale, with each fragment having its own distinct style and significance. His recognition of difference is reflected in the first method to cross-border cooperation, where each participant's distinct perspective and area of interest are made clear, and the result is a picture with layers and rich expressiveness. The disjointed visual language represents the multiplicity and intricacy of postmodern civilization, where many viewpoints, cultures, and values are continuously blending and clashing. The lack of a distinct main subject or sequential storyline in the photos allows for a multitude of interpretations and inspires viewers to use their imagination and own interpretation to explore the rich visual experience.

有关绘画方式的研究和实验，是吕松的创作取向之一。《剧场》系列将我们的目光牵引至其绘画的观念性上。该系列作品起始于2021年他实施的一个跨界项目，吕松邀请导演、演员、模特、编舞、舞者、作曲家等各类创作者加入其中。他的初衷是希望通过即兴的群体创作来连接不同领域的人。过程中，吕松自己并不使用颜料，不参与绘画行为本身，但他拥有选择保留部分画面的权利。他通过控制画面结构来编辑参与者的风格，将两个或三个参与者的涂鸦通过拼贴方式加以组合，从而形成一幅完整的画面。自此之后，吕松在工作室的创作中也开始使用这种关联图像的方式，不同的是，他通过组合自己在不同时间中创作的图像来构成画面，搭建新的“剧场”。

此系列呈现出一种碎片化的视觉语言。这种碎片化不仅反映在画面的结构上，也反映在内容的呈现上。每种碎片都带有自己独特的风格和意义，共同构成了一个多元和复杂的视觉叙事。初期的跨界合作方式反映了他对多样性的认可，每个参与者的独特视角和趣味都得以展现，画面呈现出一种层次丰富的表现效果。碎片化的视觉语言，象征着后现代社会的多元化和复杂性，社会中不同文化、观点和价值观不断交织、碰撞。而其画面没有明确的中心主题或线性叙事，这便提供了多重解读的可能，鼓励观众在纷繁的视觉体验中寻求自己的理解和想象。

One of LU Song's creative focuses is painting technique research and experimentation. We are made aware of his paintings' conceptual quality by the Theater series. LU Song recruited filmmakers, actors, models, choreographers, dancers, musicians, and other creatives to collaborate on the series, which began as a cross-border project in 2021. His initial goal was to use group production and improvisation to foster connections between individuals in various fields. LU Song retains the right to decide which portions of the image to remain, even if he does not use paints or take part in the actual painting process. He modifies the contributors' styles by manipulating the image's composition and utilising collage to combine the graffiti of two or three people to create a single, cohesive image. Since then, LU Song has also started to employ this method of image association in his studio works; the only difference is that he produces a new "theater" by fusing images that he generates at various points in time to create a single image.

There is a fractured visual language in this series. This disarray is evident in both the way the text is presented and how the photos are organised. Together, the fragments create a rich and varied visual tale, with each fragment having its own distinct style and significance. His recognition of difference is reflected in the first method to cross-border cooperation, where each participant's distinct perspective and area of interest are made clear, and the result is a picture with layers and rich expressiveness. The disjointed visual language represents the multiplicity and intricacy of postmodern civilization, where many viewpoints, cultures, and values are continuously blending and clashing. The lack of a distinct main subject or sequential storyline in the photos allows for a multitude of interpretations and inspires viewers to use their imagination and own interpretation to explore the rich visual experience.

有关绘画方式的研究和实验，是吕松的创作取向之一。《剧场》系列将我们的目光牵引至其绘画的观念性上。该系列作品起始于2021年他实施的一个跨界项目，吕松邀请导演、演员、模特、编舞、舞者、作曲家等各类创作者加入其中。他的初衷是希望通过即兴的群体创作来连接不同领域的人。过程中，吕松自己并不使用颜料，不参与绘画行为本身，但他拥有选择保留部分画面的权利。他通过控制画面结构来编辑参与者的风格，将两个或三个参与者的涂鸦通过拼贴方式加以组合，从而形成一幅完整的画面。自此之后，吕松在工作室的创作中也开始使用这种关联图像的方式，不同的是，他通过组合自己在不同时间中创作的图像来构成画面，搭建新的“剧场”。

此系列呈现出一种碎片化的视觉语言。这种碎片化不仅反映在画面的结构上，也反映在内容的呈现上。每种碎片都带有自己独特的风格和意义，共同构成了一个多元和复杂的视觉叙事。初期的跨界合作方式反映了他对多样性的认可，每个参与者的独特视角和趣味都得以展现，画面呈现出一种层次丰富的表现效果。碎片化的视觉语言，象征着后现代社会的多元化和复杂性，社会中不同文化、观点和价值观不断交织、碰撞。而其画面没有明确的中心主题或线性叙事，这便提供了多重解读的可能，鼓励观众在纷繁的视觉体验中寻求自己的理解和想象。