影像拼接 詭異我城

過去兩年,香港經歷翻天覆地的變化,表面上尋常無奇,其實詭異處處,正如九十後攝影藝術家吳啟峰影像裏的城市景觀,他以作品「薛西弗斯之城」隱喻我城,「這是一個迷失在日夜之間的城市。」

雨傘運動後,很多港人曾感到迷失,這也是吳啟峰抑鬱症的誘因,情緒低落成為他攝影創作的契機。他以影像記錄當時的情緒狀態,2017年創作的《夜》,以一系列遙距長時間曝光及計時自拍,想像抽離自身去觀看周圍的環境,從家中拍攝街頭、山上及屋企裏的自己,再從魔鬼山山頂拍攝家中的自己。在熟悉的環境中,他的身影隨着長時間曝光變得模糊,甚至被黑暗的畫面淹沒,自我的身份亦因而消逝。在展覽現場,作品《一小時後、魔鬼山炮台望向家中、20秒》正好與「薛西弗斯之城」的《龍翔道》互相呼應,兩者均能窺見他的家,令兩系列作品有種時空交錯的延續。

《龍翔道》是日夜交錯的城市景觀,有種難以言喻的詭異感。

拼接景觀  不尋常香港

「薛西弗斯之城」創作於2019年,他在龍翔道、理工大學等地拍攝地景,經歷過激烈的社會運動,這些地方本身已有獨特意義。吳啟峰以移軸鏡頭遠距離拍攝城市的景觀,以《龍翔道》為例,這是一幅九龍東及獅子山的景觀,畫面中的建築物筆直而緊湊,看起來不足為奇,然而卻有種難以言喻的詭異感。仔細留意照片的光線,前景的建築物一片昏暗,後面的山峯則非常明亮。攝影師將不同時間拍攝的照片,以影像拼接(image stitching)方式創作成高像素的作品,把日夜交錯的畫面交織在一起。「作品的景觀、光線都是很不現實的,呼應那時香港的狀態,白天很正常,夜晚卻很不尋常。」

2019年以前,他坦言自己覺得獅子山是沒有意義的,「『香港之路』人鏈活動後,每次見到獅子山,都會想起這件事。」作品以道路命名,儘管畫面中看不到龍翔道,然而知道歷史背景的話,已經明白它所隱藏的意義。他透過地景及隱晦的暗示,記錄過去一年多的香港,另一幅作品《暢運道》同樣如此,儘管照片中只有理工大學一隅,卻不禁令人想起理大圍城戰。一米多高的照片中,也蘊藏了某些符號細節,例如香港的特色建築凌霄閣、望着理工大學的路人,以及大廈天台大螢幕的中國國旗。

《暢運道》雖然只有理工大學一隅,卻令人想起理大圍城戰。

極權統治下 奴役人稱作自由

吳啟峰在藝術學院修讀攝影,他的創作深受文學、哲學影響,「薛西弗斯之城」的靈感正來自法國作家卡繆的著作《薛西弗斯的神話》。他以文字闡述作品背後的意義,「當『神』的宗教失去主導社會的地位;政治,特別是極權政府統治下的政治,接而成為唯一的,『人』的宗教。在這國度,權力意志接替正義意志,而他們也把奴役所有人稱作自由。」卑鄙是卑鄙者的通行證,在沒有信仰的時代,人為了利益,甚麼事情也做得出,放諸於當下的香港,彷彿正慢慢不謀而合。

「薛西弗斯之城」以作品《碑》為終結,拍攝的是維港旁的環球貿易廣場,它恍如一座高塔,又彷彿是城市的亡碑。「高塔是人類文明的見證,但與一般人無關,我們的生活也沒有變化,反而道德越來越敗壞。」作品以十字架形式呈現,去叩問到底何謂信仰,在沒有神的世界裏,大家如何去建立一個新的道德價值觀?

《碑》以十字架形式呈現,去叩問到底何為信仰。

Sisyphus Metropolis

Photography artist Ng Kai Fung created the “Sisyphus Metropolis” in 2019 which he photographed landscapes in Lung Cheung Road, Polytechnic University, and other places. 

After experiencing a year of protest, these places have unique significance. He used a shift lens to photograph the city landscape from a distance. Taking “Lung Cheung Road” as an example, this is a landscape of Kowloon East and Lion Rock. The buildings in the picture are straight and compact. It does not seem surprising, but there is a weirdness if you pay attention to the light in the photo. 

The building in the foreground is dim, yet the mountain behind is bright. Ng Kai Fung uses image stitching to create high-resolution artworks with the photos taken at different times, intertwining the interlaced images of day and night. “The scenery and lighting look unrealistic, echoing the state of Hong Kong at that time. It was normal during the day but unusual at night.” 

Ng Kai Fung studied photography at Hong Kong Art School. His artworks were deeply influenced by literature and philosophy. “The Sisyphus Metropolis” was inspired by the French writer Albert Camus’s philosophical essay “The Myth of Sisyphus.” He annotated the works through words,  “When the Almighty loses its dominance in society, politics, especially under Totalitarianism, becomes the only religion. Justice is replaced by the will to power, and they assume freedom is slavery for all.”

“The Myth of Sisyphus” ends with the work “The Monuments,” an image about International Commerce Centre next to the Victoria Harbour. It looks like a high tower and an obelisk of the city. “The tower is a testimony of human civilization, but it has nothing to do with ordinary people. Our lives have not changed. Instead, our morals are getting worse and worse.” The work is presented in the form of a cross to question what faith is. In a world without God, how can we establish a new moral value?

我___城 / Wall__Sink

Date: Now till Feb 28.

Time: 11am-1pm、2pm-6pm(Tue-Sun)

Site: Lumenvisum, L2-02, JCCAC, Shek Kip Mei

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