赵露的画有三重屏障。一是形式。20世纪以来的艺术家几乎穷尽了绘画的各种可能,致使当今画家很难刷新形式。当代艺术崇尚原创,忌讳雷同,轻视形式的挪用,包括对挪用者的简化、繁化和异化。有了塔匹埃斯、奇奇·史密斯以及国产画家季大纯等人的平面作品,面对赵露的画,粗心者可能会一晃而过,不再深究。因此,观看赵露的画,应当换一种看法,如同看中国的戏剧或书法,同样的剧目或同样的诗文,不同的人会演出或写出不同的韵味或情怀,高手和低手的差距显而易 Zhao Lu’s painting has a triple barrier. First, the form. Since the 20th century, artists have almost exhausted the possibilities of painting, making it very difficult for today’s painters to refresh their forms. Contemporary art advocates originality, taboos alike, contempt for the misappropriation of forms, including simplification, simplification and alienation of diversionaries. With the plane works of Tapiaisi, Kiki Smith and the domestic artist Ji Dachun and others, in the face of Zhao Lu’s paintings, those who carelessly may pass by in a flash and stop digging into them. Therefore, watching Zhao’s paintings should be replaced by the idea that different people may perform or write different meanings or feelings, master’s and master’s, as if they were watching Chinese drama or calligraphy, the same drama or the same poetry The difference is obvious