劳大伦
Lodtalad
劳家辉与虚拟人lodtalad结合而成的人类。母体生于中国广州，毕业于中央美术学院版画系。结业于中央美术学院城市学院未来媒体“国家艺术基金游戏人才培养项目”
策划展览：“洛德世界：起航”，海涵艺术空间，2021。
主要个展包括：“劳大伦 LTLLL”，站台中国-dRoom，2021；“有个叫劳家辉的人开了个虚拟博物馆” ，5art space，2019；“玩家的未来“ （C龙口空间，2018）。
主要群展包括：“劳家辉的自助庙宇”（扉美术馆，2018），“繁花六人展” （雅昌艺术中心，2021），“2021 迎春画展”，站台中国，2021；“黑白”，之谷空间，2022；“屏幕间100位艺术家礼物” ，nextlab，2021；“一个好消息一个坏消息”，798艺术中心，2020；“亚洲当代艺术文献展” ，坪山美术馆，2020；“视觉编码” ，Kommnalen美术馆，柏林，2019；“后登场”，33当代艺术中心，2019；“在网络的标志下-拼接与梗” ，CLC Gallery Venture，2019；“在路上”，关山月美术馆，2018； “柳林风声”，C龙口空间，2018；“纽约艺术书展”，MoMA PS1 纽约，2018；“青衿计划” ，北京正观美术馆，2018；“去碑营Ⅱ自我作古” ，应空间 ，2018；“日落将至”，泰康空间，2017；“门闩肖像画的隐晦目的”，C龙口空间，2017；“Hello summer三人联展”，八大画廊，2016；“常青藤中国青年艺术家年展”，天津美术馆，2016；“中国素描艺术大展”，中国美术馆，2016；LODTALAD
Lao Dalun, born in the virtual world, is a virtual person who crossed the dimension wall and parasitizes real human beings. Its mission is to promote and disseminate LOD aesthetics in the real world. Exists as an artist, painter, designer, writer, curator, genre originator, brand.
Lao Jiahui, the host of LODTALAD, lives and works in Beijing and Guangzhou. Graduated from Central Academy of Fine Art. Graduated from the future media "National Art Fund game talent training project" of City College of Central Academy of Fine Arts.
Curation: "LOD World: Set sail" ,Haihan Art Space, 2021.
Solo Exhibition: "LTLLL" ,Platform China-dRoom, 2021; "A Guy Named Locafine Owns a VirtualMuseum" ,5art space, 2019; "Player’s Future" ,C-Space+Local, 2018.
Group Exhibition: "Locafine Automatic Temple" ,Fei Gallery, 2018; "Blossom" ,Artron Art Center，2021; "Spring Fever 2021" ,Platform China, 2021; "100 Artists / 100 Presents" ,nextlab, 2021; "Good News and Bad News" ,798 Art Centre, 2020; "Asia Contemporary Art Documenta" ,Pingshan Art Museum, 2020; "Visual Coding" ,Kommnalen Art Museum, Berlin, 2019; "Post-onstage" ,33 Art Centre, 2019; "The Internet— Connections and Double Meanings", CLC Gallery Venture, 2019; "On the Road" ,Guan Shanyue Art Museum, 2018; "Wind In the Willows" ,C-Space+Local, 2018; "New York Art Book Fair" ,MoMA PS1, 2018; "Elite Youth Artists" ,Beijing Zhengguan Art Museum, 2018; "Stéles II: Vire Sans Temps Mort" ,Ying Space, 2018; "Bad New Days Ahead" ,TAIKANG Space, 2017; "the latch" ,C-Space+Local, 2017; "Hello summer" ,PATA Gallery, 2016; "Ivy Art China Young Artists Annual Exhibition" ,Tianjin Art Museum, 2016; "The National Art Exhibition of Drawing" ,National Art Museum of China, 2016.
展览现场
Exhibition View
Portrait Series
Q：为何作品的造型与美学趣味根植于屏幕经验，于游戏3d引擎？为什么更感兴趣早期低面数建模的LOD美学风格？
A：我出生在广州，从孩童开始就已经面对电脑，最早的游戏先是看着亲戚长辈在玩，后来我们才玩。我们经历了游戏引入三维引擎制作后，以及中国网游大发展的整个过程。我们采取的并不是早期的低面数，而是站在三维游戏已经发展完善之后的节点，再反观过往并对其总结的后果。我企图在提炼出表示三维技术的一种造型美学形式。LOD实际是贯穿整个三维游戏模型制作过程的方法，源自于三维游戏，并延伸至其他产业，比如建筑建模也分不同LOD。它不是指代低面数，而是面数等级的意思，涵盖了所有从0至无穷的面数等级。所以低中高面数等都涵盖了。这个范围就是LOD。
Q: Why are the work's styling and aesthetic interest rooted in screen experience and the game's 3d engine? Why are you more interested in the early LOD aesthetic style of low surface number modeling?
A: I was born in Guangzhou and have been facing computers since I was a child. The earliest games were first played by watching relatives and elders, then we played them. We experienced the whole process after introducing 3D engine production for games and the significant development of Chinese online games. We take not the early low surface number but stand at the node after the three-dimensional game has been developed and perfected, then look back on the past and summarize its consequences. LOD is actually a method of modeling throughout the entire 3D game production process, which originates from 3D games and extends to other industries, such as architectural modeling, which is also divided into different LODs. It does not refer to low surface count but to the surface count level, which covers all the surface count levels from 0 to infinity. So low, medium, and high face numbers are all covered. This range is the LOD.
Portrait 13
综合材料 Mixed media on canvas
60 × 80 cm
2021
Portrait 10
彩铅 Coloured pencil
12.5 × 14 cm
2021
Portrait 11
彩铅 Coloured pencil
12.5 × 19 cm
2021
Portrait 12
彩铅 Coloured pencil
11 × 10 cm
2021
Q：如何看待如今绘画中“屏幕转译”的风格倾向？如何看待年轻一代整体建立在屏幕于游戏中的视觉经验？基于屏幕与电脑工具的生活经验是否在一定程度影响和改变了人们对“真实世界”的感知方式？
A：你指的可能是“LOD美学”倾向。因为它才是建立于游戏和三维矢量图位图的美学。至于对于以游戏作为一种真实是必然的。这也是这个仿真技术的目的。它已经很大程度改变了人们对于真实世界的感知，并已经普及至各行各业，之后面临更广阔的世界。同时，由于基础不同，出发点，背后架构需要实时改变。因此我才做了一个框架图，试图把它背后的底层逻辑交代清楚。三维游戏是属于元宇宙的早期形式，它不应完全依赖与真实世界的逻辑发展。
Q: What do you think about the tendency of "screen translation" in painting today? What do you think about the visual experience of the younger generation as a whole, which is based on the screen and games? Has the experience of life based on screens and computer tools influenced and changed the way people perceive the "real world" to some extent?
A: You might be referring to the "LOD aesthetic" tendency. Because it is the aesthetics based on games and 3D vector graphics bitmaps. As for the game, a kind of reality is inevitable. This is also the purpose of this simulation technology. It has primarily changed the perception of the natural world and has spread to all walks of life after facing a wider world. At the same time, because the foundation is different, the starting point and the architecture behind the need to change in real-time. That's why I made a framework diagram to try to explain the underlying logic behind it clearly. The 3D game is an early form of the metaverse, which should not be entirely dependent on the logical development of the real world.
中国LOD平面作品集（个人观点）
Q：使用这种这种造型方式观察世界，对自己和作品有什么样的影响？
A：使得画面元素产生硬朗的边缘，这部分指代的是三维矢量图；使得边缘里面包裹着似是而非的模糊图像，这部分指代位图。二者结合正好表达了三维模型最明确的特征，当然还有其他特征比如切线边缘，这表达了三维模型的本质，证明它是由多边形组合而成的。还有其他，包括光照，线框架，穿模等等。
Q: How does using this stylistic way of looking at the world affect yourself and your work?
A: It makes the picture elements produce hard edges, which partly refers to the 3D vector graphics; it makes the inside of the edges wrapped with plausible and blurred images, which relates somewhat to the bitmap. The combination of the two expresses exactly the most explicit features of the 3D model. Of course, other features such as tangential edges represent the essence of the 3D model, proving that it is a combination of polygons. There are also other features, including lighting, line framing, through-mold, etc.
肖像研究 2015-2021 Portrait Research 2015-2021
Q：你认为今天的绘画与艺术史中的绘画的关系是某种延续，还是已经变异为完全不同的事物？
A：我认为艺术史真正的是螺旋式发展的且存在范式转移，往往当人们认为变异或者是迷茫不知所措的时候，是遇到瓶颈了。他们往往想用同一种角度解释所有，假如不行就躺平或骂街说艺术绘画史已经停止，但实际上需要做的是要把这个固化的底层思维替换掉，它才能正常延续。就像是NFT就是一种解决了艺术行业一些不合理的部分，它从外部覆盖进来，然后处理掉一些迂腐的东西。
Q: Do you think the relationship between painting today and painting in art history is some kind of continuation or has it mutated into something completely different?
A: I think art history is really a spiral, and there is always a paradigm shift, and often when people think it is mutating or confused, they are at a bottleneck. They tend to try to explain everything from one perspective. If it doesn't work, they lie flat or curse and say that the history of painting and art has stopped, but what actually needs to be done is to replace this solidified underlying mindset for it to continue appropriately. Like NFT is a solution to some unreasonable parts of the art industry, it covers it from the outside and then deals with some bureaucratic things.
劳大伦思维导图初稿
Q：你如何看待当下的NFT艺术？你自己是否会做这方面的尝试？
A：NFT的方式是很好的。但当下很多的NFT作品粗制滥造，门槛过低，同时大部分是投机取巧，进来捞金凑热闹，这些不好。但方式本身是很好的，尊重了艺术家本身的劳动，也让数字作品多一个流通的出口。会的。
Q: How do you see the current NFT art? Do you try to do this?
A: The way of NFT is perfect. But many NFT works today are shoddy, and the threshold is too low; while most of them are opportunistic and in for gold to get a buzz, these are not good. But the way itself is very good, respecting the artist's labor and giving digital works an additional outlet for circulation. I will.
Q：为何更多的执着于肖像这个主题？
A：并不是执着，是由于它是我在不同方向的研究中最先完善出来的。但这个回答可能要说很久，因此在这就先不回答了。
Q: Why are you more obsessed with the subject of portraits?
A: I am not obsessed with it, but because it is the first thing I have perfected in different research directions. But this answer might take too long, so I won't answer it here.
Lodtaland
Lodta
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