攝影師馮建中的創作歷程,由《茫茫十年》(1976–86)到《水相 》(2016–),很容易給 貼上「由紀實朝向抽象」的標籤,而始於 2000 年代中的《樓花》,可視為重要的拐點。 馮建中攝影專集《光是看見》,選錄作品接近二百幀,劃分為三個部分,以顯示馮不同階段的藝術實踐:流浪、塵埃、婆娑。按馮建中拍攝的動機、手法、心理狀態、美學取向等,拼湊三組關鍵字如下,可更有系統地理解他的創作歷程:
流浪 —— 直接攝影 —— 看見 —— 真實的 —— 人文關懷
塵埃 —— 蜃影 —— 預視 —— 超現實的 —— 批判
婆娑 —— 攝覹 —— 凝視 —— 靈性的 —— 直接的感官觸動
《光是看見》,一書兩冊。冊一:作品選錄;冊二:評論文字。攝影:馮建中 |主編:黃小燕
Although cast as an unruly artist in his younger days, John Fung has always been deeply concerned about the human condition and its interconnectedness with nature. Steadfast in being true to what moves him, his photographic work shimmers with arresting authenticity. This is a quality that has intensified with age—his later works transcend the physicality of the subject into something beyond.
Let There Be Light is a two-volume set containing nearly 200 of Fung’s works, grouped into three sections that broadly signify a stage in his artistic practice. ’Wander’ shows his early tendency towards the documentary format and humanist eye in series like Ten Years On (1976–86). ‘Dust’ shows a turning point towards critical, surrealist mirages in series like One Square Foot (mid-2000s). ‘Asway’ shows Fung’s turn to abstraction with nuanced, ultra-close perspectives and ethereal atmospheres in projects like Water . . . Now (2016–). This mapping of keywords helps to explain his motivations, techniques, ways of seeing, states of mind, and aesthetic choices.
The works are accompanied by critical essays from Phoebe Wong, Cho Man Wai, Valerie Doran, Lau Chi Sun, Lo Yin Shan, Lin Chen Wei, and Cheung Ping Ling. This third edition in the Standart series comes with a collectible fold-out poster book jacket.