Hong Kong Tatler | 24 April 2015
Hong Kong Tatler interviewed Beijing artist Lu Song about his works and first show in Hong Kong at Galeire Huit.
Learn more about the show at: Lu Song | Hinterland
Sweet Serenity: 15 Minutes with Lu Song
We speak to the Beijing based artist, who will be presenting his inaugural solo exhibition Hinterland at Galerie Huit
Next week, emerging Chinese artist Lu Song will unveil his first solo exhibitionHinterland at Galerie Huit’s newly opened exhibition space in Sheung Wan. Hinterland literally translates from German as “the land behind”, meaning a remote or ill-defined, rural territory that lies beyond the coast, city, or harbour.
Following his studies in London, he has been gaining traction in the art world, praised for his remarkable use of colour, which enables him to create distinct effects and vibrant atmospheres.
Ahead of his exhibition debut in Hong Kong, we took some time out to ask the artist about Hinterland and his influences:
My work is about finding one’s inner peace while living in a harsh social context.
I’m inspired by German Romanticism, as I believe it revealed one of the key points in art, which is to make people sense rather than understand, making people aware rather than see something that is clearly defined.
I’m influenced by many things whether it’s the books I’ve read, film’s I’ve seen, or the personal experiences I’ve endured whether it’s a childhood memory or a sense of loss.
I think the disconnect between human and nature is a worldwide phenomenon, if my work helps make people more aware of that, then that’s an added bonus.
Lu Song, Hinterland, 210 x 140cm
Image Courtesy of Galerie Huit
I mainly use oil and acrylics, but I am always willing to try other new things, as long as it works for my picture. In painting, every gesture, texture, colour and structure composes the languages itself, as well as “the raw brushstrokes”.
People often say my work evokes vulnerability, purity, and mystery. It’s what I’m going for, but these feelings can only be concluded rather than designed, making a plan is essential, but it only works in the beginning, I often don’t know where I’m going but I find the painting often leads the way.
People don’t realise that being a spectator or viewer makes you a part of the artwork. Your experience of being inside the room and your response to the work is what makes it complete.