“Space” seems to be a very significant motif of Lu Junzhou’s works of art. He is always trying to extend the boundary and bring new experiences in each phase of his career, while sometimes he even expresses a sense of pulse and being split apart in his works. If we would like to find out the relative continuity among them, the most obvious should go to the exploration and reflection of “the emotional representation of space and primitive power”.
In fact, the structure of characters has a kind of spatial reference in traditional concept of calligraphy. Lu Junzhou’s works of art have undoubtedly pushed this reference to the ultimate of one’s understanding. It seems to be a lead-in, which combines his longstanding love for calligraphy with the epiphany about the future. Especially in his recent works, the once existent order begin to resolve, and the aesthetic in form begin to be replaced. The emphasis on form and meaning has been transferred to the more straightforward accumulation and release of emotion. Calligraphy itself has nothing to do with the content of the words, nor with the reading experiences of the readers. He pursues his own sense of rhythm, as well as a primitive state of mind close to basic instincts, therefore completely crosses the barrier between Chinese characters and western letters. Calligraphy manages to create a sense of space and mental pictures in a perfect and natural manner, just like the original chaotic state. It is as if only when he is surrounded by characters does he get close to the unique self, experience the freedom of spirit and express his doubt-it-all and courage. In the process of writing, distinctive features like connotation and sentiment which belong to traditional calligraphy are gradually revealing its connection with certain value judgements of contemporary art. Our knowledge about traditional concepts are being renewed and surpassed with the artists’ creations. As Solzhenitsyn said, “ Our life, our spirit, have to emerge from our own understanding and our own cultural atmosphere.”
When we put ourselves in a more open and broad cultural atmosphere and follow the diversifying value judgements, there should be more possibilities and interpretations for art creations, which stick to uniformity otherwise. Lu Junzhou tries to reverse the order and then reconstruct it with his works in his own understanding. In this sense, he seems to have taken us into a new spiritual space.
Director of Suzhou Museum