陸揚自畫像13號 Lu Yang Self Portrait#13 : KaliPipimi

在古印度史詩著作《羅摩衍那》中神猴哈努曼打開他的胸腔展示了在他心臟上的羅摩與悉多 ,而陸揚畫作中將自己的臉嫁接到其宗教偶像卡莉女神身上,打開胸腔跳躍出的是一個豎著 中指的Pipimi,這張畫像的表面充滿著陸揚向往利用黑暗與暴力對末世的調服,而內在又是 病態萌文化對世態的幽默不屑。一副多態度符號的畫作。

In the ancient Indian epic “Rāmāyaṇam”, Hanuman cuts open his chest to display the Ram and Sita on his beating heart. Taking such a folklore as inspiration, Lu casts himself as Goddess Kali – a Hindu Goddess significant in Lu’s own spiritual denomination. Kali rips her chest open, showing a Pipimi with middle fingers up. Lu Yang expresses his dystopian wish to take the world under his reign with dark violence, and his playful contempt towards the world that finds its roots in the “Moe” mordibity subculture.





降魔!陸揚與六芒星帥哥組合!Lu Yang’s Cult of Hotties
此作中充滿了作者對 自心降魔的憧憬,降 服的是心魔,是對青 春少年美色的執著欲 魔,所以畫作中由幾 個無頭健美少年組成 的六芒星魔法陣,六 芒星符號發源於印度 教的古代宗派Tantrism 教派,其主要的崇拜 偶像是男根-女陰( Lingam-Yoni)的結合 體,這些健美少年組 合而成的六芒星可以 召喚情欲,畫作中少 年們的頭已經被代表 作者本人的不動明王 形象砍去並且噴濺鮮 血,即是作者希望斬 斷一切情欲,凈化自 心的向往與信心!

Lu Yang’s Cult Hotties explores a will to overcome sexual desires towards beautiful young men. Seven headless muscular young men form a Star of David – a significant Tantric symbol originates from Hinduism. Tantrism centers around the deity Lingam-Yoni, whose avatar is characterized as a hybrid of male and female genitalias. While the formation of these young, muscular men conjures lustful desires, Lu, reincarnated as Acala in the paint- ing, decapitates them to sever his own connections to such worldly lingerings and embark on a path to celibacy.

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驚叫美味!炮烙美少年!What a Snack!
作者的一些朋友覺得作者長得酷似動漫人物Pipimi,此作中左右對稱的Pipimi形象代表作者 本人。作者自小看封神演義中對酷刑炮烙的印象極其深刻,從小吃老北京銅鍋喜歡把食物貼 到銅鍋柱子上YY是在給食物施以炮烙之刑。畫作中作者幻想自己巨大化後用巨大老北京銅鍋 給美少年們施以炮烙之刑。
In What a Snack!, Lu Yang is reincarnated as Anime character Pipimi, who bears remarkable physical resemblance with the artist, and overlooks the audience in front of the paint- ing. Pipimi performs gunning (a cruel torture technique popularized by Investiture of the Gods, a popular 16th-century Chinese novel, where the victim is chained to a incandescent metal pole and subsequently burnt to death) on beautiful young men with a boiling hot pot.

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宇宙辣妹卡莉與地球殺馬特Universe Gyaru (ギャル)Kali & Earth Visual Rock Smart
作者鐘愛千禧 年涉谷109辣 妹,被109辣 妹們不羈的著 裝和態度感染 ,覺得他們就 是現代版鮮活 的卡莉女神。 畫作中將109 辣妹卡莉化, 過度的妝容和 原宿系裝飾, 手持原宿系鉞 刀割下殺馬特 之頭,留下鉆 石般的鮮血閃 耀輝煌!彰顯 卡莉精神不受 時空限制,突 破長空,散落 至宇宙的每一 個角落!

Lu Yang has always been inspired by Japanese Ganguro Gyaru subculture originated in Shibuya, Tokyo in the 90s. Ganguro Gyaru, roughly translated as “demon hot chicks”, are distinguished by a dark tan and over-the-top makeup, and embody a rebelious spirit like that of the Goddess Kali. Kali, with the head of a typical Ganguro Gyaru grafted on her body, decapitates a Shamate teenager with a decorated Sickle, leaving a bloodtrail of diamonds. Long live the spirit of Kali through the beginning and the end of the universe.

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Kaiju Lu Yang numba 1-2-3
each 130x130cm
In an ongoing series, Lu Yang reincarnates himself as “Kaiju”. The Kaiju then go on to seek aliance with Gozilla and spread fear and destruction in the tokusatsu (“Japanese monster movies”) universe. The Kaiju avatars first made an appearance in Lu Yang’s lastest video game production ‘Worldly World Adventures’. Lu distorts and demonizes his own physical appearance to become the Kaiju and other antagonists in the game, and this work reimagines them on 2-D canvases.

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給我也喝一口好不好ヾ(>Д<;))))….. A (Blood)Thirst Trap
為何維納斯是女性?為何這樣對美的審美觀念限制人們的想象?維納斯是女神,Chhinna- masta也是女神!讓女神Chhinnamasta代替維納斯成為這幅畫的主角吧!巨型骷髏怪,尼 斯湖水怪也要享用Chhinnamasta女神的聖血得到神力!她既是生命的給予者也是生命的掠 奪者!生死,苦樂並非二元對立,無二即是這幅作品的象征含義!
Why is Venus always represented as a voluptuous young woman? How does visual cul- ture tame our imagination of mythologies? Venus is a goddess, so is Chhinnamasta (a Hindu nude self-decapitating, blood-squirting goddess of contradictions). In Lu’s reinter- pretation of The Birth of Venus, Chhinnamasta replaces Venus and becomes the center of attention. She bestows upon Loch Ness Monster and monstrous skull magical power by feeding them her sacred blood. She is the giver as well as the taker of life. Kali em- bodies contradiction and mutuality.

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惡魔阿薩謝爾的日常 Daily Life of Azazel-San
二次元名作《惡魔阿薩謝爾》的原型阿撒茲勒(לארזע) 在猶太傳說中是墮落天使之首,第 一位因背叛上帝而墮落的天使!希伯來語「神之強者」之意,像神一樣強大,完全的除去 移動荒野和海洋。這樣一個叛逆的墮天使在神殿中的日常又是怎樣的?靈感源於人獅那羅 辛哈(Narasimha)印度教”維護宇宙之神”毗濕奴“的第四個化身!

Famed Japanese anime You’re Being Summoned, Azazel-san finds its inspiration from Azrael, the Angel of Death. In Jewish and Islamic fables, Azrael was one of the first to be exiled from heaven for his unholy betrayal. “Azrael” means godly strenghth to move land and sea. What is daily life like in the palace of the Angel of Death? In Daily Life of Azazel-san, Lu Yang gives Azrael the physicality of Narasimha, the part-lion, part-man avatar of Hindu god Vishnu.

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曼森是作者從小的偶像,作者在初中時代首次接觸瑪麗蓮曼森的作品,可以說瑪麗蓮曼 森對作品長大後的作品也有著深刻的影響。如果瑪麗蓮曼森是一個妖嬈狠毒的美女蛇( 美男蛇?)那麽他的力量任由葫蘆娃中火娃影分身無數個同時攻擊的爆裂金剛猛火也無 法摧毀! Lu Yang began idolizing Marilyn Manson since he first encountered his works in early teens. The androgynym Manson manifests has had lasting impact on Lu Yang and his practice. In this painting, Manson becomes an enchanting, vicious snake demon, unfaltered even when it is quadropleteamed by Calabash Brothers (popular Chinese cartoon from the 80s) and their fiery power.

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辣眼睛!老人看手機!Chili Eyes! Old Man Reading Smartphone!
作者一直很好奇古代大臣上朝以及道教神像手中拿著的笏板,他們稟報皇上朝廷事務的時 候拿起這塊笏板就像在看智能手機,翻閱智能手機中的信息來稟告皇帝,人們在拜祭道教 神仙的時候擡頭一看也好像看到了神仙在用智能手機查閱來拜拜的人的生平善惡一般。而 最近社交媒體非常火爆的表情“地鐵老人看手機”代表著手機內容的“辣眼睛”,作者將所有 這些聯想雜糅在了一起。
Lu Yang has been interested in the physical parallel between “Hu” panel (a small, rectangualr hand panel government officials wrote on to communicate information with the emperor in ancient China) and modern smartphone designs. What if people had smartphones hundreds and thousands years ago? What if deities used a device similar to a smartphone to find out the karma, good or bad, of the mortals to determine who goes to heaven and who doesn’t? Lu puts his answer on canvas.

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2倍憂傷 Double Sadness
Lu Yang’s pug Biabia has a RSF (resting sad face). Lu doubled Biabia’s saddness in this painting.