Lu 'an in Lu 'an (professional artist)

Liu An, a professional artist, is a well-known folk artist. His works take oil painting and photography as the main means to convey his way of thinking about life. His works are collected by private or art galleries and galleries in more than 30 countries. Early works "Talk of Childhood", "Floating" and conceptual photography works after 2008. Very popular. Liu An is a real "hidden in the city" loner. Keep quiet. Will not associate with people. . . . . . (1) The water in my hometown can be used to soak my feet in childhood, wash my heart in middle age and dilute the world in old age. The speaking world of childhood is becoming more and more intense with the westward movement of the sun. The fantasy in my dream lured me to watch all the way. When I discovered the secret, the cold of life and short-lived successes and failures appeared one by one. Going in and out in the contradiction of ambiguity ... talking in a dream, but ignoring it and doing it with wishful thinking. That's the only eternal hope I can't forget. On the one hand, it's frankness, and on the other hand, it's simplicity.

(2) Everyone's history forms everyone's today. Today, it has changed with the changes of the times, and the only constant is the childhood talk. When I walked out of that small village at the age of eight, I didn't think it was my hometown. I always feel that my home is far away. Forty years later, I returned to the place where I started. After I walked through the city, I still loved this small village without hesitation, just like I loved my mother. I searched the earth for a week and found that what I was looking for was still where I started. As long as human beings have a hometown, they have dreams. Although dreams are cold and desolate, dreams are ethereal, but they are not polluted or empty.

(3) Childhood is unknown. Until childhood passed away. Childhood is when you haven't had time to appreciate it, and it flows into your memory silently. Thinking of this, I always have a childhood impression in the figure of my weather-beaten mother. That impression is not important to my childhood happiness and sadness. There is always a passing sadness in that impression, which makes me feel like listening to a sad music. When I bid farewell to the old poplar tree at the head of the village, I actually bid farewell to my childhood, because I didn't even look back at that time. Forty years later, I returned to my hometown again and again, looking for my childhood on the dirt road full of wheel tracks. Restore the mother's figure in the mysterious corn field. Homesickness is an endless river, and childhood dreams are the source of that river. Where life is released. Finding childhood is more difficult than finding wealth, because happiness is often lost with wealth, and childhood means happiness. Getting back to childhood is actually a lack of childlike innocence. I have looked for the rising of the sun in the Book of Changes, the laws of nature in strength, the power of frankness in art, and frankness and justice in mountains and rivers. I finally met my soul and found that my childhood was still fresh-just like my painting. So, I saw purples at dusk, I read impermanence in the Book of Changes, I experienced civilization and barbarism in power, and I called for beauty in the mountains and rivers. Stop, stop, stop, stop in art dandelion painting 150cm-65438. The theme comes from the emotional entanglement and psychological surge in contemporary society, which looks unremarkable and has no ups and downs of visual impact. The style is unpretentious, not pursuing strong design effect, but trying to inspire the audience's thinking, focusing on expressing the psychological reaction of the characters. In a beautiful environment, stories are often bleak, in contrast to the psychology of the characters. The seemingly ordinary plots are like a story, but there is no story, like our daily life, which is a little bit in our life, but it is meaningful in plain. I am a modern primitive man, I like the tradition of refined scholars, and I hate that scholars have lost their original falsehood. What is really novel is not the form, but the timeless thought hidden behind these forms-personalized thinking on the eternal contradictory situation of mankind. This is the populist art I advocate.

Creativity brings too many unnecessary things, so don't innovate again, but counter-innovate, leaving only the least surprises. In fact, the pursuit of novelty and difference is a human struggle. In other words, a good art table is peaceful and durable, and the visual impact effect is not the first.