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?
創作於2009年的「I Miss You Already」系列，則把鏡頭對準赤裸的自己，利用身體作為表達媒介。「取名時我更傾向於不具象的、浪漫詩意的名字，畢竟我的作品是feeling-project，它們更多的是傳輸一種情感。」當時，他在意大利做駐地藝術家項目，在一個封閉、黑暗的洞穴裏，做起瑜伽的輪式動作，將身體支撐成一道拱門，創作出該系列首張作品《Self-portrait（Bent）》。成長於都市的他對大自然特別嚮往，不論是身處樹林或湖邊，總想着以身體融入大自然。「創作對我而言，就是對大自然空間作出的本能反應，把身體融入空間。」
華人世界對於裸體相對較保守，也曾有人覺得他的作品很情色，然而他對於赤裸並無任何「罪惡感」，只想透過身體讓人感受到情緒，而這種感受情緒的途徑就是攝影。「肢體的美感是很主觀的東西，拍攝時我不會去刻意琢磨肢體動作，只想以最自然、最真實的狀態展示出來。」他把《I Miss You Already》視為自我回顧和自我探索的過程，十年過後，除了年齡、外表的轉變，更多、更複雜是內心的變化，反映出不同階段的自己。「任何人在十年裏都會有變化，個人經歷讓人更成熟，思想上也有很多改變，這些都在我的作品裏表現出來。」
Hong Kong, in the 1950s and 1960s, has an unadorned beauty. There were not many skyscrapers around, and sunlight always left long shadows on the streets and pedestrians. The late photographer James Chung (鍾文略, 1925-2018) once captured that era’s exquisiteness and aesthetic. The exhibition “Long Shadow-James Chung” is like wandering in Hong Kong’s past, immerse yourself in the beautiful light and shadow.
Under the Windows, North Point, 1958
When James Chung came to Hong Kong from Guangdong in 1947, his grandmother gave him two gold bars. According to his eldest son Stanley’s recollection, he exchanged gold bars to work as a movie advertisement apprentice in the theater. He was often exposed to celebrity images, and that spark his interest in photography.
Water Lily, Central, 1957
James Chung bought his first camera in 1957. After the store clerk explained the basic knowledge of aperture and shutter, he immediately rushed to the Zoological and Botanical Gardens. He photographed the shiny lotus flower under the sunlight, and it became his iconic work in early times. Unexpectedly, the image is quite exquisite and published in newspapers and magazines. He bought more film and photographic paper with the remuneration to continue his hobby.
Let There Be Light, Wan Chai, 1957
As an apprentice of movie poster painter, he often stayed in the cinema, which allowed him to observe the light differently. Sometimes the theater staff raised dust when cleaning, and it looks stunning under the sunlight streaming through the windows. Although James was new to photography, he has a unique sense of light and shadow. According to Stanley’s recollection, he always has artistic visions. Benefit from his painting and woodcarving experience in his early years. He created his extraordinary skills in photography.
Qipao Elegance, Central, 1961
Double Braid Amah, North Point, 1963
Although living conditions in the 1950s and 1960s were difficult, he still insisted on photographing every day. Sometimes, he pawned the camera to buy photographic paper and then used the prize money from the photography competition to redeem the camera. What made James determined to devote himself to photography was his participation in the newspaper’s Photography Competition in 1958. He went out early to take pictures every day and carry a camera even on duty.
Gaze, Kowloon Tsai, 1958
There was a time when his job was to whitewashed a school’s walls. He took pictures of the building in his spare time and later invited his wife and classmate to model inside the school. He captured a triangular pattern from the bottom of the building. The stunning image won a camera in the contest, which significantly strengthened his confidence and continued to improve his photography skills through the competitions.
New Frontier, Kwun Tong, 1962
In 1963, under the introduction of director Li Han-Hsiang, he worked for a film studio. His job was to create movie stills and actors’ portraits, preserving visual memories for many filmmakers. After that, he founded a photo studio in 1968 to engage in the photography and printing business until he retired in 1991. During the most exciting 30 years of his life, photography has been inseparable.
