藝術家叙述 artist statement

【天人合一】

理念:

「天地與我并生,而萬物與我為一」   莊子

以布、紙本作品、圖像鋪貼、大幅牆畫和圖像投影…等不同媒介和表現手法,

演繹中國古哲學思想所表達之【天人合一】的精神面貌;

並切入藝術家自身的生活環境及其時代脈搏。

以動 / 靜態的人體動作表現心無雜念的那一瞬間—猶如舞者、運動員

全情投入以致完美—物我相忘而為一的意境;花、樹、魚、鳥、是生命的符號,

高樓、電車、招牌、座椅…是時代及環境之面貌,朵雲是把萬物相容之意態。

透過視覺圖像去探索天與人之境界,表達天人(萬物)協調及共存,和諧並同異。

描繪生活常見的各種景物,並揉合想像;意象在舞動中相互對話和對比,徘徊於寫實和想像之間,現實裡面存在幻象,虛實有致,個體與整體的關係和萬物並蒂相連的意境。

並試圖以此引伸至當今人類社會應該抱有尊重生命、愛護環境及萬物並存的觀念;

想像自我與世界。

馮祺  二零一零年

[ heaven and man as one ]
concept:

“the universe and i coexist, and all things with me as one”  Zhuangzi
with canvas, paper work, sticker of images, large wall painting on site specific and image projection … other media, and technique, interpretation of ancient Chinese philosophy of 【heaven and man as one】 expressed in the mental outlook; and cut into the artist’s own living environment and the pulse of the times.

to dynamic / static human motor performance, with no distractions of the moment — as if the dancers, athletes devote the whole thing so perfect — i forget themselves and for the artistic conception; flowers, trees, fish, birds, is symbol of life, high-rise buildings, trams, signs, chairs … the face of the times and the environment, cloud is the meaning of all things compatible state.
through visual images to explore the day in common with the human realm, the expression of heaven and man (all) co-ordination and co-existence, harmony and similarities and differences. describe the various features common life, and embracing the imagination; image in the dance of mutual dialogue and comparison, hovering between realism and imagination, illusion of reality which exists to show actual situation has caused, the relationship between individual and overall , and the mood of all things connected.
and attempts to extend to today’s human society should have respect for life; protect the environment and the concept of coexistence of all things; imagine self and the world.
jolans fung 2010

馮 祺之攝影簡歷

我在上世紀八十年代法國巴黎的求學時期,十分熱衷於「紀實攝影(documentary photography)---追求那<决定性的瞬間>(decisive moment)---透過攝影術去評價這個世界,尋找巧合、一個時刻,將攝影機的取景框內的元素與自身的感想聯結成整體。

九十年代回港之後,在攝影創作上我尋求突破;形式上不再只是以單張相片去表達,而是有意識地運用多個圖像的組合作為視覺語言,去闡述創作意念。

這就如中國古代在「唐詩」以後,發展到「宋詞」、「元曲」…等。

近年,更將攝影作為媒介、表達形式,再創造「生活觀照」、「人類感官」、「視界想像」和「地區社會面貌與全球化現象」…等創作意念,再以人文精神 或 藝術創作將其提升為一處視覺語境。

journey in photographyjolans fung

in the 80’s while studying in paris, france, i was most enthusiastic in ‘documentary photography’, passionate about the idea of  capturing the ‘decisive moment’ and to evaluate the world through photography. i also looked for “chance / the split moment” and to combine the elements appeared in the viewfinder with the internal feelings of myself, the artist, into one.

upon returning to hong kong in the nineties and no longer only relying on using single images to express the world. with a vision to make a break-through in art photography, i soon had an eye for double-layering and started to explore the concept of ‘multiplicity’ by using multiple images as a visual language to express creative concepts. it seems like this evolution, allegoric to chinese ancient art forms of the tang’s poems evolving into song’s lyrics and onto yuan’s operas.

in recent years, i have arrived at using the photographic medium to express conceptual forms, using their contexts in search of a spirit of humanity, using an image of culture and a critique of social reality to reflect the hybrid, global city of hong kong.

【感官】

攝影可以是個人與現實之間的一種接觸,以往(傳統上),我們透過影像去認識、了解現實(外在世界),或運用它去投射個人(內在世界)的思想、感情。

於我,當個人與現實透過攝影交織成影像;一種境界(昇華世界)是會出現的

——它是個人,現實和大自然整合的一種景觀。

由影像引發想像,激發我們人類與生俱來的感官去達至「物我同在」的境界

——那是「看得見的聲音」,「觸得到影像」。

馮 祺   二零零五年

[senses]

photography can be interpreted as an encounter between man and reality. In the past (traditionally), we relied on images to get to know and to understand reality (the external world), or we manipulated images to project personal thoughts or emotions (the internal world).

personally speaking, when an individual and reality, by way of photography, jointly produced an image or some images, a certain scenario (the sublimed world) would come into being—the unity of personal, real and nature in which become an scenery.

by using images to induce imaginations, we, human being, can provoke our innate senses to get to the scenario—they are  ‘the visible sound’  and  ‘touchable image’.

jolans fung   2005

【聆聽】

某時,當我看見一些有感的影像,透過拍攝去將它固定為一個畫面的同時;

我想,那聽到的也應包含在其中,是無言的及聯想的…,

運用鏡頭的收放,營造視覺節奏,那是 ——「看得見的聲音」。

馮 祺   二零零一年

【listening】

when i saw a thought-provoking image, i would capture the picture with it’s very own sound, whether it is silence and other association…,

used the focal length to made the visual rhythms, that means,

while we see, we also listen—‘the visible sound’.

jolans fung   2001

【見】

每當我看到這些拉長、變形或重重叠叠的影像時,我會馬上走近那焦點——倒影。

觀看這些可以是由生活到藝術的有趣影像,我直覺地把這些看見和短暫的感覺用拍攝摘錄下來,運用雙拼手法去表達這既真實又變幻的視覺語言——見中有變。

馮 祺   二零零六年

【sight】

every time when i chance upon those elongated, twisted or layer upon layers of images, i’m always drawn to approach closer—the reflection.

observe those interesting image from life to art, i instinctively need to clinch and turn those seeing and fleeting sensation through photography, use the form of diptych to express this reality but also fluctuating visual language.

jolans fung 2006

*[聆聽]和[見]是【感官】系列的作品 *listening and sight are from the series of [senses]

‘油街的腳註’的描述‘

這輯‘油街’相片是由一九九八年九月到二零零一年一月期間的攝影印記,

也是我的攝影創作的一段踪跡。

腳註有著啓發性補充說明的含義。

今次展覽的內容除了展出部份當年的攝影作品外,同時將部份相片加入一些

創作手法和展示安排;這些形式和視覺語言或會使作品得到新的定義和再發現。

於我,藝術的意義、功能…是改變著已知的事物,賦以新奇及新知,甚至顛覆

(對攝影作品的傳统觀念及觀賞行為)。

展塲的末段,是我去年重返油街所拍攝以‘消失’為題材(油街的建築將會拆除)

的一組作品;作為這次展覽的句號。

馮 祺   二零零七年

‘the picture in words of the ‘footnotes to oil street’

this photo series of ‘oil street’ was taken from September 1999 to January 2001, and also a stage of trace of my creative photography.

footnote means an illuminating note to which it was.

besides the photographic content of this exhibition, it’s also add some creative manner and arranging display; these forms and visual languages might be made the photo works gets into a new definition and re-discovery.

personally, the meaning, function…of art is to change our knowledge, and give the surprise, the new experience; even overturn (to the traditional idea and the behavior of view and admire of the photo works).

at the end of exhibition is my work named ‘disappearance’ (the buildings of oil street will be demolished) which I did it in last year; as the full stop of this exhibition.

jolans fung   2007

【慾望 / 消失】

藝術家叙述

【慾望】

慾望是人類內心想得到、想滿足的願望;但在現今的消費社會,這些「得到」、「滿足」除了有審美價值之外;同時是「物質=佔有慾」的代表。

消費產品廣告分日夜,以不同的高低大小、位置顏色…等形式展示在我們眼底,用漂亮賣相刺激你的慾望,抅起你心裡的那份「想擁有」。

從產品至慾望或由慾望到產品,這些都是在當今消費社會裡不可缺少,它們同時佔據我們的物質及精神生活。

以攝影作為媒介,試圖去質疑現今香港「慾望」處處、「廣告」泛濫的城市面貌,思孝我們對於 慾望 / 物質 與 藝術 / 精神的相關和相對性的何去何從;

而藝術的美學價值是否被大量生產、多樣消費的生活形態所淹蓋?

【消失】

在香港,「發展」這字幾乎是一切;物質價值永遠比精神、文化重要,為了發展、重建,好些有社會及文化價值的建築和城市空間都要讓路;舊天星碼頭被拆毁,及後的皇后碼頭、利東街、油街…等會為「發展」這目的而消失。

在這系列作品裡,我透過攝影去投射對這些地方的回憶和感想,運用雙拼和三聯拼手法試圖把我們的 回憶 重新集合 / 轉化在這些影像裡。

馮 祺  二零零六年

‘desire’ / ‘disappearance’

artist’s statement:

‘desire’

desire is what people hope to obtain. an aspiration that they want to satisfy. in our consumer-oriented society these days, these urges of “getting it” and “getting satisfied” have become more than an aesthetic judgement, they also represent the notion that   “substance = desire to possess”.

the non-stop advertisements of consumer products that come to us in various forms and sizes, at different locations and in a full spectrum of colours, keep storming our eyes. they are beautifully dressed up to excite your desire and to titillate that urge to possess deep in your heart.

from the products to desires and from desires to products, these interactions have become necessities of our society these days. they have even taken over our materialistic and spiritual life.

using photography as a medium, i attempt to query these omnipresent desires as well as the flood of advertisements affecting hong kong at present. i seek to find a related and a relative direction for our thoughts between desire / materialistic being and art / moral judgement; and whether aesthetic value of art has been over produced and drown by our multi-facet consumer life-style.

‘disappearance’

development rules almost everything in hong kong. materialistic values are always more important than moral and cultural standards. many valuable social and cultural buildings and public city spaces have been reduced to rubbles in the name of development and re-construction. the old star ferry pier and the queen’s pier were torn down. lee tung street, oil street and many others will also disappear for the sake of development.

in this series, i try to capture and project my memories and sentiments of these places. using diptychs and triptychs i attempt to bring back recollections; and to reconstruct and transform them into new imageries.

jolans fung   2006

【虛白夜】

香港的維港夜景很著名,有的是嶄新的當代建築設計,加上如幻彩般的燈光,營造了一幕幕的光輝,締造了一個發亮的城市外貌 / 形象。

我探索以不同方式去描述這現象,將我們認知的形狀 / 建築透過攝影技巧把它抽象化;把我們熟識的景象從真實變化為虛幻。

運用中國畫裡的「留白」概念轉化為「加白」的手法,套用在這系列的攝影作品裡;展現一種新的視覺語言。

馮 祺   二零零七年

【white night】

hong kong is famous for its harbour view at night, having the new design architectures and the Illusory lightings to make a series of sparkling scenes, create an luminous façade / image of the city.

i explore the different way to depict this phenomenon, turn the known shape / architecture into abstraction through photography; transform our well-known scenery from reality into illusion.

using the concept of「emptiness」of the chinese painting, change it to be an「over exposure」manner

and adapted into this series of photos; presenting a kind of new visual language.

jolans fung   2007

“ 無盡

香港,,澳門,都是一座燈光滿布的城市;街道的霓虹燈廣告和高樓那如幻影般的

華麗光衣展現在我們眼底,色彩燦爛的光線不斷地閃爍著、閃動著…。

眼前的景象既真實、同時又虛幻!

這真實與虛幻令我們的視野無窮無盡地 引動 及 想像。

我運用攝影術裡的特定技巧,把這些獨有的人造光彩摘錄為一幅 [真幻影像];

以此演繹視覺語境裡的另類聯想空間。

馮 祺 二零零八年

“ adinfinitum ”

Hong Kong, Macau, are the cities of lights; streets full of neon signs,

elegantly dressing up high-rises. Under our sight, illusory, colorful lightings continuously twinkling, sparkling…,

The scenery right in front is a reality and also an illusion at the same time; it brings out our vision and imagination moving in rays infinitely.

I captured these characteristics of artificial light & color through photography,

and re-created this visual context into an alternative space of association.

jolans fung   2008

「十 年    憶  夢」

-香港回歸十年  記     想

用 生活,回憶,想像 裡 這些不同的形象作為元素,

夢  代表著願望的實現,潛意識的真實世界; 素  描  繪 於大白牆上,

作品 大小特定於展覽空間,配合時間,裝置 (如:光,機械…等);

除去理性的批判,沒有任何美學或道德的想法,把 夢 傳記於時空,白牆上。

在展覽完結的同時,牆上的 夢 (圖像)便消失,轉化為觀衆的記憶,相片及數碼影像。

如果 夢 是虛幻,那真實的虛妄,就更如是

馮 祺   二零零七年

‘  ten years    remembering dream ‘

—memories and mental pictures of the handover of hong kong

use the different images of life, memory and imagination as the visual elements,

dream represent the reality of hope, the real world of subconscious;

draw, brush and paint on the wall, the size of art work accord with the exhibition

space, and merge the time or installation ( e.g. lighting, machine…etc ).

forget about the rational judge, neither any aesthetic nor moral thinking,

make dream into the time and space, onto the wall.

by the time of the end of exhibition, the dream ( images ) of the wall

will be gone; and transforms into the memory of audience, the picture and digital image.

if the dream is an illusion, and the real hypocrisies are more like a  dream .

jolans fung   2007 Tom harkin, d-iowa, who https://www.writemyessay4me.org chairs the senate health, education, labor, and pensions committee, sharing their concerns about weakening key provisions in the law

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