盧俊翰筆下最常見的景物是山與海，與他在花蓮的成長環境有關，他說，放眼就能看到大山、容易親近海洋;山給他向上爬升的動力，海則是寬闊的意境。創作焦點在於並非為對「風景」這一物質存在本身，而是關注「風景」作為創作者沉思對象物的視覺系統，重新建構個人所觀看的風景。畫面中主視覺是以不規則石柱體建構而成，抽取山水畫裡的山石高坡，削平的石坡頂端，如同人類生活的痕跡，像是城市建築中一棟棟的高樓大廈，有著城市山景的隱喻。整體視覺以多視角感官，讓觀者可以在不同方向感受空間的幾何劃分，藉由拼貼的繪畫思維，展現裝飾性符號與抽象的組合，符號的變化來自生活情感，面對所看到的風景都有著自我情緒，有著寄託、有著終點。
Born in Taipei but raised in Hualien, Jyun-Han Lu derives his inspiration from the mountain and the ocean scenery of Taiwan’s east coast. With both types of natural views on his doorstep, Lu has closely observed and been inspired by the mountains’ soaring height and the ocean’s all-encompassing wideness. Rather than focusing on the landscape itself, Lu’s works explore how an artist reconfigures what he or she sees by navigating the contemplative potential that lies in the landscape. In Lu’s paintings, we can see irregular cylinder-shaped rocks creating visual emphasis. These cylindrical shapes are Lu’s rendition of rocky mountainscapes commonly seen in shan shui (traditional Chinese landscape painting). The bevelled and flattened hilltops not only represent the traces of human activities in nature but also serve as metaphors for urban high-rises. By incorporating into his painting the technique of collage, which juxtaposes symbols with abstraction, Lu encourages the spectators to appreciate the geometric malleability in his works from different angles and directions. This kind of spectatorial experience, which reveals that a specific symbol can be interpreted in individual ways, corresponds to Lu’s creative process that foregrounds an artist's unique, subjective response to the landscape – a response that is informed by his or her life experiences, emotions, beliefs and aims.