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Lü Shanchuan was born in 1969 in Quanzhou, Fujian Province. He graduated from the Fine Arts Department of Fujian Normal University in 1992 and stayed on as a teacher. In 1997, he graduated from the 9th Seminar of the Oil Painting Department of the Central Academy of Fine Arts. In 2002, he was invited to Europe for study and exchange. In 2005, he was awarded the Sino-German Cultural Exchange Scholarship to study and exchange in Germany.
Virtual real No.16 imitation Caravaggio flower god
Oil on canvas 140x110cm 2021
Landscape No.9 Oil on canvas 90cm× 120cm 2020
Landscape No.8 Oil on canvas 100x80cm 2020
The work Lü Shanchuan did was not a study of art archaeology, but rather an expression of his own reaction to real events. As a contemporary artist, his understanding of "contemporary" is that the artist's expression should be related to reality, which is actually one of the most important characteristics of Chinese contemporary art. Chinese artists living in the midst of rapid social changes are personally aware of the role and influence of reality on them, and they are in the tension of strong interaction between the world and the local, the self and the society, thus intrinsically initiating the desire to express reality, it can be said that the artistic creation of "contemporary" - current reality - as a resource has become the most fascinating cultural feature of Chinese contemporary art.
Landscape No.6 Oil on canvas 120cm×90cm 2019
Landscape No.5 Oil on canvas 110cm×150cm 2019
However, as far as Lü Shanchuan is concerned, his expression of reality is different, and the charm of his art lies in the fact that his creation embodies the unity of the three aspects of self and event, language and medium, painting process and behavior, in short, his art is the result of the trinity of event, medium and behavior.
Landscape No.2 Oil on canvas 140cm×180cm 2019
Landscape No.1 Oil on canvas 110cm×150cm 2019
Kong Ming Lamp No.3 Oil on canvas 90cm× 120cm 2019
First of all, the events that enter Lü Shanchuan's works are "social" or "big" events, including political, military, economic, cultural and other aspects, which have both Chinese and international content.
For him, what is important is not only the "content" of various things, but also the "scene" of the event, in which the "scene" is full of touching atmosphere and diffuse power. This "scene" excites him. As a painter, what he wants to capture and reproduce is this kind of "scene" that can be transformed into artistic images and forms, so he uses the canvas as a container for "scene", and tightly controls the two factors of atmosphere and power in the process of depiction.
Landscape - Market No.2 Oil on canvas 120x90cm 2019
Landscape - Street No.1 Oil on canvas 100x80cm 2019
Virtual Real No.6 Oil on Canvas 120x100cm 2019
Perhaps the facts he paints are not entirely related to the life experience of each viewer, but the inflated "sense of presence" in his works can visually constitute an impact on people, so that people enter the event, where they feel the existence that has happened. In this sense, Lü Shanchuan successfully realized the transformation of sociological content into artistic expression.
—— The above excerpt is from Van Diean
Virtual Real No.5 Oil on Canvas 140x106cm 2019
Virtual Real No.4 Oil on Canvas 140x110cm 2019
Chinese artists have a critical complex in their bones, because many artists have realistic education experience, coupled with such a social reality that China is in, so many artists' works will always follow such a vein. But there is a big problem in the middle of this is that this has gradually formed a paradigm at present, which has become a routine creative guiding program, and most people criticize for the sake of criticism, without strength, and seriously similar. This is a very prominent issue at the moment. So I say, don't make the focus wrong, the value of art is art itself, and the meaning of painting also comes from the painting itself.
- Lü Shanchuan
Virtual real No.3 imitation Caravaggio Dionysus
Oil on canvas 120x100cm 2019
Virtual real No.1 imitation Fisher
Oil on canvas 120x100cm 2019
Carl S. Vinson Oil on canvas 140cm×180cm 2017
Jiangshan so much delicate oil on canvas 140cm× 180cm 2017
The Bund Oil on canvas 160cm× 200cm 2017
Sea No.2 oil on canvas 110cm×150cm 2016
Valley No.2 oil on canvas 80cm× 100cm 2016
Cologne Oil on canvas 150X110cm 2015
Colosseum Oil on canvas 180x140cm 2014
Golden Hall Oil on canvas 180cm× 140cm 2014
Kong Ming lamp Oil on canvas 180cm× 140cm 2014
Sun Buddha Oil on canvas 250cm×200cm 2014
Wuming Buddhist College Oil on canvas 400cm× 250cm 2013
Liaopu Fishing Boat No. 25222 Oil on canvas 180cm×140cm 2013
Potala Palace Oil on canvas 180cm× 140cm 2012
Diaoyu Island Oil on canvas 180cm× 140cm 2012
Launch pad Oil on canvas 150cm× 110cm 2012
Huangyan Island Oil on canvas 150cm×110cm 2012
Mushroom cloud Oil on canvas 200cm×160cm 2012
World Square - Beijing Oil on canvas 500cmx300cm 2010