往返在上海弄堂与欧洲弄堂，画心中的上海，一种熟悉又未知的情境再现。
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生长于老上海市中心，上海中西混合的氛围与建筑形态形成了她青少年时代的记忆，在往后欧洲居住的岁月中不断出现在她的作品中，欧洲对于老建筑的珍惜与维护与故乡上海的高速发展充满了巨大的对比，她把海派文化融合在绘画语言中，充满了对上海以往气息美与创伤的感怀。
在上海长大的旅法女画家杨璐，笔名海上鹭鸶。上海是鹭鸶身体和灵魂的故乡，也是她永不枯竭的灵感源泉，她一次次从自己的画里返乡，以隐去面目的旗袍女子来表达内心感受，这些女性形象传承自中国现代绘画导师林风眠，却更具上海城市文化的气质。她们或站或躺或走，或慵懒或利落，或迷茫或自信，她们不是简单的特定女子肖像，而是一类人、一代人、甚至一个城市的精神画像。 鹭鸶的乡愁是彩色的。乡愁是鹭鸶的创作动力和灵感泉眼，她笔下的美女常常不让观众看清面容，但晃动着张爱玲的背影。她笔下的恋人欢聚，营造着唐诗宋词的意境，又酝酿着现代人的反叛与抗争。 鹭鸶选择上海女性题材作为新海派画的探索实践，既是海派文化基因的自然显现，又是一个海外游子必然的情感诉求。她的画作既有浓艳的西洋画色彩，又蕴含了中国写意画的含蓄和轻描淡写。一方面，隐去面部神情的旗袍女人与简捷环境构成的图式，可以看出画家“高级而通俗”的创作理念；另一方面，鹭鹭作品的抽象性，使图像离开具像直抵内心体验与感知的“造像”，人物与环境统统具有象征性。陈逸飞和陈丹青也都是上海人，也都受过西方油画传统的的洗礼，然而他们的画更多地体现了古典主义的写实风格。而鹭鸶的画不同，她大胆运用法国画家马蒂斯的色彩、风格――既打破了西方传统的绘画概念，又恰当地表现了东方人独特的风情。正如她自己说：“中国的魂魄，欧洲的风”。 鹭鸶的画有一种奇丽的瑰异，这种瑰异让人在“上海女性”的镜像前迷失。无论褒还是贬，上海女性的历史和现实始终拥有最高的关注度。我正是在她――一个新海派的艺术家身上，读到了上海女性的一种恒久姿态：特立独行。 说不尽浮生若梦，海上女子的风情。 |
非常怀念上海过去的优雅与时尚，上海的女子是这个城市一道亮丽的风景。今天的上海尽管仍然时尚，但不再优雅。你的画展示并重现了过去的上海，谢谢。
一 L L 上海烟草公司 
旧楼的木梯大都已被白蚁蛀坏了，踏在上面，会发生吱吱的声响。这些木梯，早该修葺或更换了。不修葺，不更换，因为业主已将这幢战前的旧楼高价卖给正在大事扩展中的置业公司。这是姨妈告诉亚杏的。亚杏的姨妈住在这幢旧楼的三楼，已有二十多年。亚杏与姨妈的感情很好，有事无事，总会走去坐坐。现在，走下木梯时，她手里拿着一只雪梨。这雪梨是姨妈给她的。亚杏走出旧楼，正是淳于白搭乘巴士进入海底隧道的时候。
刘以鬯《对倒》 |
My art is an amalgam of Eastern and Western techniques, and often inspired by the romance of old Shanghai.
最近刚完成了一张新作，好友们建议叫做青衣，这张油画从去年就开始动笔，期间夹杂着其它媒介的的创作，柔中带刚，丰富顺畅，比以往的作品更走深了几步，目前为止，我喜欢她， 你的生命如此美丽，明媚的岁月，永远的微笑，有画，有影，相伴真好，上海和平饭店，和平定终生，浪漫伴一生，
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一次次的进入与脱离，多个节点的交织与碰撞，一幅幅画面间的跳跃，上海时代的梳理
生长于老上海市中心曾经的法租界，上海中西混合的氛围与建筑形态形成了她青少年时代的记忆，在往后欧洲居住的岁月中不断出现在她的作品中，欧洲对于老建筑的珍惜与维护与故乡上海的高速发展充满了巨大的对比，她把海派文化融合在绘画语言中，充满了对上海以往气息美与创伤的感怀。
“你怎么样？”
“我怎么样？” “不打算离开上海？” “打算是有的；不过，事情并不简单。” “到过香港没有？” “没有。” “许多人都到香港去了？” “是的，许多人都到香港去了。” 文 /刘以鬯《对倒》 
一个在此地这样隆重的日子[微笑]，当中蓝调子的是《九月的金神父路》，快二十年前的画了，‘’不知是世界离弃了我们，还是我们把他遗忘‘’（陈歌辛）几年前，复兴公园起舞的人们黄昏散去前唱听到这首歌……后来我画了这张《苏州河边》
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自忠路黄宾虹，西城里张大千，淡水邨张充仁，黎锦晖，陶菊隐，徐郎西，南昌路林风眠，复兴路刘海粟，钱钟书，复兴坊何香凝，史良，丰裕里陶冷月，花园坊关良，思南路孟光，建国路汪亚尘，黄陂南路丁聪，叶浅予，张光宇，顺昌路上海图画美术院，也就是后来的上海美专……
常年往返在上海和欧洲，出生和成长在曾经的法租界，一张画桌就是流金岁月，周围有这么多海上闻人与绘画大师故居的陪伴，张大千，林风眠，刘海粟，黄宾虹，张充仁...... 还有无数的文人墨客，与这个生养我的城市好像一场跨越了几个时空的传奇异地恋，上海时刻在提醒我这个城市的苦难与精彩，距离产生的思恋使得灵感愈加浓烈。 这片法国人二十年代设计建造的著名街区，无数的闻人逸事传奇，吸引了众多游客和导演李安，而生活，远比影视更传奇。 |
“世界上有很多小镇，镇上有很多咖啡馆，你偏偏走进了我这一座。。。”。每个城市对于出生在那里又离开那里的人，都是日落的时分，遥远的影像间离后，如同身边的夕阳，晕染的温暖包围着，无边无际，相对而坐的咖啡袅袅上升，不急不徐。只是我们偏偏出生于又离开了上海，所以，习以为常的不经意中，看到鹭鸶的画和照片时，就寻着那种味道，走进了她的咖啡馆。关于上海，鹭鸶画过一些女子，三十年代的优雅，看不到的脸，即便有，我也看不到，喜欢的是那些色彩和韵律及其背后的“感觉”。很不张爱玲的说，与其欣赏旗袍静止在沉香中，不如看她在城市中隐形的施施然；
文/JYSL |
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张爱玲有段文字 “气味总是暂时,所以气味是小趣味, 而颜色有了就在那里, 使人安心,不像音乐, 音乐永远是离开了它自己到别处去, 到哪里似乎谁都不确定, 而且才到就已经过去了, 跟着又是寻寻觅觅, 冷冷清清.”
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My way of painting has changed over the years, influenced by European expressionists and cubists, but with a distinctive Shanghainese soul in the selection of themes. 
他们继续走路，
柳原又道：“鬼使神差地, 我们倒真的恋爱起来了！” 流苏道：“你早就说过你爱我，”柳原笑道：“那不算，我们那时候太忙着谈恋爱了，哪里还有工夫恋爱？” By 张爱玲 |
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Shanghai images, especially the elegant women of the twenties and thirties in their cheongsams, often appear in my art.........
As a Shanghainese in Europe, it was natural and part of myself, that my art would continue to have Shanghainese themes in it. Especially as the increased distance in time and space from the town where I grew up made me reappreciate the beauty of Shanghai. When I lived there as a child, one of my strongest impressions was walking through the elegant French area, looking at the European style buildings from the thirties, and wondering about the stories behind them. When I left Shanghai, the city was rapidly changing into just another modern metropole, and I thought my feelings for this city would diminish quickly. However, from the distance of Europe I found out that you can never forget the feelings for your home town, be they good or bad. I have the feeling I only now fully understand Shanghai, and that it will always be alive in me. In Europe, I am finally able to turn these strong inner feelings about Shanghai into my art.
In the past, Shanghai was called the Paris of the Orient. For Paris, the important word here is Orient, for Shanghai the important word here is Paris. Both elegant cities, fashion capitals, with high lifestyle, always like being on a stage. Both cities in which the people have to face the real life problems, still have their dreams, but have the typical large-city mentality of keeping a distance. Both cities in which people grow up in a city culture. They see pictures of the sea long before they actually see the sea, they read about love before experiencing love. The real experience always follows the imagined one. In this sense, there is very little difference between East and West.
In the past, Shanghai was called the Paris of the Orient. For Paris, the important word here is Orient, for Shanghai the important word here is Paris. Both elegant cities, fashion capitals, with high lifestyle, always like being on a stage. Both cities in which the people have to face the real life problems, still have their dreams, but have the typical large-city mentality of keeping a distance. Both cities in which people grow up in a city culture. They see pictures of the sea long before they actually see the sea, they read about love before experiencing love. The real experience always follows the imagined one. In this sense, there is very little difference between East and West.
In my current art style, all these influences and emotions come together. The emotions and memories of Shanghai, and the influences of movies and music. The amalgation of all these influences has led to a very personal art style, which we call Shanghai expressionism. I do not want to give up the fine art of Chinese ink though. Not only do I have the right technique, based on long education, but I enjoy doing it. The influences are similar to the ones in my oil paintings, and therefore I consider these black and white Chinese ink drawings to be part of the Shanghai Expressionism style as well. I only hope that I can find that there is sufficient interest in Europe for this type of very Asian art
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