陆琤的绘画具当代性。这里面的根本原因是，她出生在一个更新的图像背景之中。具体地说，她是在当代电脑进入了家庭、网络游戏得到普及，数码相机、数字电影、数字电视、数字音乐充斥了生活，人类从模拟时代进入了数字化时代的背景中成长起来的。由于深受工业设计、广告、动漫与影像的巨大影响。所以，当她进行艺术创作时，自觉不自觉地便将设计的因素、诸如现代城市规划图因素、高空俯瞰的因素，电脑板（CPU）因素也带了进去。这些因素的带入和使用其实是陆琤对新绘画方式的大胆尝试，极富创意。事实上，她的表达措词、语言单位是机械制图和城市规划设计图中常用的虚线。她把这些彩色的虚线通过排列、组合成横向延伸的、没有深度空间幻觉的复杂结构。这种排列、组合既是机械的、设计化的，也是陆琤认识、理解和表达事物的限制性条件。与此同时，她将我们见过成百上千次的传统民间门神和戏曲作为基本图案加以创造性使用。在这个已经限定、封闭的空间里，她用彩色虚线的排列、组合规则进行重画，从而对传统图案进行了分析、检验、摈弃和重新确认。这种方式冲破了原来图案的轮廓外形与属性，其艺术面貌相当新颖。过去，我一直认为，中国的抽象艺术难以与中国当代文化挂钩，因为它不仅在本质上属于现代主义，而且还很西方化。但陆琤的作品完全改变了我的看法，它不是与历史无关的纯抽象的、乌托邦的设计，而是以一种抽象的语言去重新评说我们熟悉的历史。这使我对中国的抽象艺术抱有了很大的希望。
鲁虹
Paintings by Lu Zheng are contemporary ones. The essential reason is that she was born in an updating painting background. She grows up in such a background that computer is popular; digital camera, digital movies, digital TV, and digital music are around us; human beings step into a digital era in details. Because of the effects of graphic designs, advertisement, cosplay and videos, she adds naturally design elements in her works such as city layout aspects, bird-eye-view and CPU that are her experimental creation. And it is absolutely creative and audacious. In fact, broken lines used in city layout drawings are her language and expression in her works. She arranges these colorful broken lines to a complex structure horizontally outspreading unlimitedly. Such arrangement is mechanical and planned, but also Lu Zheng’s ideas and expression of limited conditions. Meanwhile, she creatively uses the traditional folk door-god and drama as impressionable pictures. In such a limited and closed space, she redraws paintings through the principle of arrangement and reconstruction of colorful broken lines. So traditional pictures are analyzed, checked, abandoned and reaffirmed again, which brokes through the original frame and the attribute of pictures and it has a brand new artistic look now. I thought that it is difficult to link up the abstract art with contemporary culture, because it is not only quite westernized, but also actually belongs to the modernism. But I was affected absolutely by works by Lu Zheng. He uses the abstract language to review the history familiar to everyone, but not the one with nothing to do with the pure abstract art or utopia, which makes the future hopeful.
Lu Hong
陆琤的作品能满足我们对于“形象”的视觉需求。这是她的作品的一个显著的特点，画面中所有的形式与色彩的冒险，都是从一个起码可以辨认的形象出发的。其次，这个“形象”在作品的语言系统中，又是一个架空了的“前提”。这个形象看似是一个基础，但是在最后所呈现出来的结果中，它又变成了一个可有可无的假设。这是因为在陆琤的作品中，点、线、面，包括色彩等这些“造型”的元素都最终脱离了“形象”这个基本的造型的前提和基础，它们在画面中形成了自己的语言逻辑关系。但是，它们又没有形成康定斯基式的纯粹的视觉抽象逻辑，还是起码是表面上维护着一种可以辨认的形象识别关系。正是在这个前提下，我认为在观赏在陆琤的作品的过程中，所带给观者的是一种“惊心动魄的心理体验”。这是因为，在她的作品中，“形象”与“抽象的视觉元素”之间一直维持着一种脆弱的视觉心理上的平衡关系。抽象的造型元素一直蠢蠢欲动，试图要建立属于它们自己的内在逻辑关系。当你的视线在她的画面上游动的时候，稍不留神，这些微小的细节就会在你的视网膜中形成一个个“视觉向心力”的旋涡中心，从而实现了对于它们自身所依附的“形象”的解构过程。这个解构过程实际上我们可以把它视为一种“弑父”情结冲动。所以有人能从她的画面中看到了电子线路板或者现代城市的结构模型也就不足为奇了。但是，再造另一个形象并不是她的目的，在她的作品中实际上是呈现出了形象的结构、解构和再构的“过程”。而这个“过程”才是她的作品中最让人怦然心动的特质。正是在这个意义上，我认为陆琤的作品超越了平面绘画的概念，而创造出了一种属于“影像”范畴的运动视觉的意义.
吴鸿文
Works by Lu Zheng meet our visional demands on “image”, which is one of the features of her works. All adventures of various format and color in her works spring from the knowable images. Next, the image is impracticably premise in language system. It seems that the image is necessary, but actually in the end, it becomes the dispensable supposal. Because sculpting elements of point, line and whole area including colors, etc. gets rid of the image, the essential base and premise of sculpting and forms their own logic relationship. It is not pure Kandinsky logic, but reserves the relationship of knowable image apparently at least. With such premise, audience feels sense of heartquake when watching works by Lu Zheng in my opinion.
In her works, a crisp visional mental relationship between image and abstract visional element is always kept balanced. Abstract sculpting element is ready to do something and trying to set up their own logical relationship. When you are looking at her paintings, these details will definitely attract you and form a visional centripetal force in order to deconstruct the image they attaching to. This process can be actually considered as the emotional impulsion of patricide. So it is so common for people to find out the model of PCB and structure of modernized city. But it is not her purpose to set up another one. Actually in her works is the process of construction, deconstruction and reconstruction, which is the most heart-leaping-up character in her works. Works by Lu Zheng has already beyond the concept of plane paintings but creates a meaning of sportive vision belonging to “video” to me.
Wu Hongwen
