十年前移居法國的Kayee，2015年因哥哥贈送的單反相機才開始攝影，自此彷彿學懂一種新語言。她喜歡人像攝影，也鍾意看油畫，尤其是十六、十七世紀畫家卡拉華佐（Caravaggio）的作品，於是油畫便成為她的靈感源泉。她最近在香港舉辦攝影聯展，展覽現場的作品《The Taking of All of Us》就是源自畫家的名作《The Taking of Christ》。
《The Taking of All of Us》模仿Caravaggio名作《The Taking of Christ》。
另一幅明顯取材自達文西名畫 《最後的晚餐》的作品《Who Is Listening?》，她不但扮演耶穌，還一人分飾十二個角色。畫面右方的人全在玩電話，或自拍或在等訊息，彷彿活在虛擬世界中。耶穌左邊的人似乎在尋求溝通，有人在祈禱，甚至荒謬地融入一個殺人的故事。「每個人都有不同的意見及表達方式，很多時我們表面上在溝通，但實際上究竟有多少人認真在聆聽？」這幅充滿玩味性質的作品，或許正是現實社會的寫照。對她而言，這幅作品還有另一層自身意義，她天生有一隻耳朵沒有聽力，過往她也試過不能溝通的狀況，幸好這沒有對她的語言能力造成影響，還能說一口流利的法文。
展覽現場還有一幅作品《Sisters》系列作品，以16世紀畫作《Gabrielle d’Estrees And One Of Her Sisters》為靈感，畫面中的她按着另一個自己的頭，創作完作品後，她才慢慢理解自己為何要這樣拍攝。Kayee原本是雙胞胎，但另一位胎兒在媽媽的肚裏死去，這個創傷困擾她多年，令她產生一種倖存者的內疚感（Survivor Guilt），也覺得很難與人建立關係。
「這個想法在內心埋藏很多年，直至近年才慢慢走出這個困局，懂得如何去表達這種內疚感，當她將過去兩年創作的《Sisters》系列慢慢連結起來時，才明白為何會創作這系列作品。」這個想法也在另一系列作品《End of the Party》裏得到延續，多個長相、穿着一樣的她身處一座中世紀的莊園裏，隱喻着曾經共處同一子宮的經歷，雖然不知道莊園裏曾經發生過什麼意外，但最後只有一個人倖存，藉此去表達她內心的內疚及罪惡感。
《Sisters 1》以16世紀畫作《Gabrielle d’Estrees And One Of Her Sisters》為靈感。
觀察日常生活 角色互有交流
雖然Kayee的作品靈感源自名畫，也模仿油畫人物的姿勢及光影，不過她相片中人物的動作及反應，也源於對日常生活的觀察，例如人們吵架的表情等，再將人與人之間的互動融入作品。正如作品《Who Is Listening?》，創作時她圍繞中心的耶穌造型展開，用六晚時間逐漸建構出不同角色的造型與動作。影像的美感、構圖固然重要，角色之間的交流與反應，同樣令作品生色不少。
Creative and Humourous Self-Portrait Mimics Famous Painting
Oil paintings, especially Caravaggio’s paintings, inspire Hong Kong photographer Kayee C’s artworks. The work “The Taking of All of Us” is derived from the painter’s masterpiece “The Taking of Christ.” The painting is about Jesus being arrested and taken away after being betrayed by Judas. Kayee plays multiple roles in her image. Judas becomes the person who helps her make up, and the soldier becomes the person who is gesticulating with the finger. Someone was watching and taking pictures. “The social trends (e.g., weight loss) and aesthetics seem to take away women’s freedom of thought. In a sense, women are also participating in this tendency. That is why I represent the women in the image myself.”
The artwork ”Who Is Listening?” is derived from Leonardo da Vinci’s “The Last Supper.” She acted the role of Jesus and played 12 roles. The people on the right are all using phones, taking selfies, or waiting for messages as if they live in a digital world. The person on the left of Jesus seems to be seeking communication. Someone was praying and even ridiculously integrated into a murder story. “Everyone has different opinions and expressions. We seem to communicate with each other, but how much are we listening?” This playful work may be a portrayal of the real world.
The other self-portrait “Sisters” is inspired by the 16th-century painting “Gabrielle d’Estrees And One Of Her Sisters.” Kayee does not understand why she presses the other one’s head down in the picture until she created the work. She was initially twins, but the other fetus died in her mother’s belly. The trauma has plagued her for many years, causing her to feel Survivor Guilt and find it challenging to establish relationships with others. “This feeling has been kept in my heart for many years. It is until recently that I have slowly got out of the predicament, knowing how to express the guilt.”
Women Gaze
Date: Now Till April 25th
Time: 11am-7pm( Mon-Sat), 2pm-7pm (Sun)
Site: La Galerie Paris 1839, 74 Hollywood Rd, Central
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。」
