李扬更早的创作是对数字形象进行处理，二进制的工作方式是源于对图像“数字”性的提炼，以点为单位，通过色彩分解过程，进行制作。无论是之前的数字形象还是现在绘画的再现其本质都是信息。
Lea Young's earlier works involved processing digital imagery, employing a binary approach derived from the refinement of the "digital" nature of images. Creating with dots, through a process of color decomposition, he created his pieces. Whether in his previous digital imagery or his current paintings, the essence remains rooted in information.
Installation View, Artworks ©李扬 Lea Young
作品面貌的变化就是李扬对“图像”本质和“绘画”本质的研究过程。
The transformation in the appearance of his works reflects Lea Young's exploration of the essence of "image" and "painting."
Installation View, Artworks ©李扬 Lea Young
早期艺术家选择马蒂斯女人的线条为图像进行研究，马蒂斯的女人的轮廓——其转曲的线条，是其迷幻张力的根源 ，其变形、扭曲和部分拉伸并不是女人本身的信息，而是马蒂斯所期望的信息。
In the early stages of his career, Lea Young chose to study the contours of Matisse's women as his imagery. The contours of Matisse's women, with their twisting lines, constitute the source of their mesmerizing tension. The distortion, twisting, and partial stretching are not inherent to the women themselves but are the information that Matisse intended to convey.
Installation View, Artworks ©李扬 Lea Young
于是李扬转向关注史前文明。
Subsequently, Lea Young shifted his focus to prehistoric civilizations.
史前文明的壁画是纯粹的记录信息本身的图像。于是李扬开始在史前岩画、苏美尔文明里寻找图像进行绘画再现的实验研究。图像开始承载历史性的信息，在背负更磅礴厚重的信息之上以非常理性的方式被精准表达。
The murals of prehistoric civilizations are images that purely record information. Lea Young began to search for images in prehistoric petroglyphs and Sumerian civilization for experimental research on painting reproduction. Images began to bear historical information, and in bearing this weighty information, they were expressed in a very rational manner.
因创作者的行动画面内、外会产生对话。创作动作本身也是创作者的思考方式，权衡、增减、选择是内外力量间的拉扯，或许对这个力的平衡能触及到“道”的思考。
Through the actions of the creator, a dialogue is created within and outside the image. The act of creation itself is a mode of the creator's thought process; the balancing, addition, subtraction, and selection represent the tug-of-war between internal and external forces. Perhaps, achieving balance in this force can touch upon the contemplation of the "Tao."
hand NO.2 手-2, 150×106cm, Acrylic on canvas 布面丙烯, 2024
创作本身就是一场修行。
Creation itself is a form of spiritual practice.
Installation View, Artworks ©李扬 Lea Young
Q：可以聊聊怎么找到“人体打印机”这样的创造方式吗？
A：基于前几年的一些数字图像的实验作品。毕业后一直没有去想怎么去做作品的思路，反而是一直在寻找图像的可能性，比如加入了扫描仪和打印机等等这些工具。这个期间也是有好几个阶段，反复在尝试。
现在作品里的图像只不过是用到了其中的一些局部而已。当我意识到数字图像和再次绘画有着不同的意义时，又尝试了很多不同的实现手段。有可能我不是学纯绘画的原因，所以不纠结在传统绘画的方式上，只要能实现想要的效果，就自己去开发绘画的工具，也就有了现在的工作方式。
Q: Could you talk about how to find a creative way like "human body printer"?
A: It's based on some digital image experimental works from previous years. After graduation, I didn't really think about how to create works, but rather I was always exploring the possibilities of images, such as using tools like scanners and printers. During this period, there were several stages of trial and error.
The images in my current works only use some parts of them. When I realized the different meanings between digital images and traditional painting again, I tried many different implementation methods. Maybe it's because I didn't study pure painting, so I'm not stuck in the traditional way of painting. As long as I can achieve the desired effect, I develop painting tools myself, which is how I work now.
Installation View, Artworks ©李扬 Lea Young
Q： 目前这种独特的绘画方式在创作之初遇到过什么挑战？
A：其实没有特定的重视技术或是工具，如果说要打破固有经验和认知就需要借助一些额外的东西。开始发现之前的实验作品中一部分数字图像放大后里边的信息特别迷人，有随机性，也具备绘画性，如果说把它们能实现出来肯定会很有意思，这期间也尝试过一些处理手法，也可能还是基于传统绘画的技法，并不理想。所以就需要一个新的“工具”。当恰好实验到目前的方法时又面临了新的问题，“秩序性”变得尤为重要！当分析过了那些“国际”艺术家时，发现他们的色彩逻辑和绘画逻辑非常清晰，这并不是机器所能及的，之后“让复杂有序”成为了我工作的重要内容。
Q: What challenges did this unique creative method encounter in the early stages of use?
A: Actually, there is no specific emphasis on technology or tools. If you want to break the existing experience and cognition, you need to rely on some extra things. I found that some of the digital images in the previous experimental works are particularly fascinating when enlarged. They are random and have a painting nature. It would be interesting if they could be realized. During this period, I also tried some processing techniques, which may still be based on traditional painting techniques, but the results were not ideal. So I needed a new "tool". When I happened to experiment with the current method, I encountered new problems. "Order" became particularly important! After analyzing those "international" artists, I found that their color logic and painting logic were very clear, which is not something a machine can achieve. After that, "making complexity orderly" became an important part of my work.
Installation View, Artworks ©李扬 Lea Young
Q：从马蒂斯形体到苏美尔壁画再到现在的电子佛手在图像的选择上有什么倾向吗？
A：从马蒂斯的形象到壁画的内容都是基于造型的绘画性的选择，开始我会对绘画的“原始性”有所迷恋，但是选择“佛手”就是一种直觉。是当我在整理之前去麦积山石窟的图片时莫名的感受到了一种“平和”与“敬畏”，因为这也是前一段工作时间里产生的感受，所以当即决定借用“佛手”的相试着去实现这种感受。
Q: Is there any tendency in the selection of images from Matisse's form to Sumerian murals to the current electronic Buddha's hand?
A: From Matisse's images to the content of murals, they are all based on the choice of modeling and painting nature. At the beginning, I was fascinated by the "primitiveness" of painting, but choosing the "Buddha's hand" was intuitive. It was when I was organizing the pictures of the Maijishan Grottoes before that I felt a kind of "peace" and "awe" inexplicably, because this was also the feeling generated during the previous period of work, so I immediately decided to borrow the "Buddha's hand" to try to realize this feeling.
Installation View, Artworks ©李扬 Lea Young
hand NO.4 手-4, 150×106cm, Acrylic on canvas 布面丙烯, 2024
A：现在是有的，但是最开始是没有这些概念的，是边做着边出现的。画画的时候不全都是在思考绘画或者画面的问题，也会思考为什么要这么话对于自身的意义。这个绝对不是要刻意为之，也不是故意要去向外部的输出，就是突然在某一刻意识到就是一种缘分而已。
Q: Is the current creation intentionally exploring Zen thoughts?
A: Yes, but these concepts were not present at the beginning. They emerged as I worked. When painting, not all of them are thinking about the problems of painting or the picture, but also thinking about the significance of painting for oneself. This is definitely not something to deliberately pursue, nor is it intentional to output externally. It's just a sudden realization at a certain moment, which is a kind of fate.
Q: What effect does the reflective white background of the latest electronic Buddha hand series on display achieve?
A: It's a very important "isolating" layer. Before painting, I have to do several backgrounds on the canvas to ensure the saturation of acrylic, so that it won't change color after drying. The white background of the "Buddha's hand" series is just a subtraction from the previous paintings, which feels more pure, and the picture has more light.
Installation View, Artworks ©李扬 Lea Young
Q：可以聊一下接下来的创作方向吗？
A：还是会围绕着“平和”“敬畏”的状态去工作，可能会把“相”再简洁化，画面也会再去做一些减法，在感受上更纯粹一些。
Q: Can you talk about the direction of your next creation?
A: It will still revolve around the state of "peace" and "awe", and may simplify the "phase" again. The picture will also do some subtraction again to make it more pure in feeling.
Installation View, Artworks ©李扬 Lea Young
展览现场, 后浪品图新绘画的新面孔, 玉兰堂, 2023 ©李扬 Lea Young
展览现场, RE'VAN·理想图像, 年代美术馆, 2023 ©李扬 Lea Young
展览现场, 不要理解得太快, PIN, 2023 ©李扬 Lea Young
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