JOHN FUNG PHOTOGRAPHY ARTWORKS
Why do people suffer? What is the root of suffering?
Where does the pressure of living come from? Why must we endure pain?
人為何痛苦？ 痛苦的根源是什麼？
生活和生存的壓力從何而來？為何一直處於這種痛苦之中？
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Starting from "Ten Years On", John Fung's photography was based on the focus on humanities, explored the problems of urban space with his personal life experience, and gradually expanded his thinking to the world level, returning to the living essence. All works after "One Square Foot", are hoping to awaken human emotions towards nature and pay attention to issues on nature and climate change. Make people understand that the social environment is built on the natural environment, that whatever people do is related to the climate crisis and all life on earth is affected.
由「茫茫十年」開始，馮建中的攝影立足於對人文的關注，進而以個人的生活經驗探問城市空間的問題，並將思考逐漸擴展至世界層面，回歸本質。「樓花」以後的作品都盼能喚醒人類對大自然的情感，關注大自然和氣候變化等問題。使人們明白社會環境建立在自然環境的基礎之上，無論人們做什麼都與氣候危機有關，以及所有在地球上的生命都被受影響。
ONE SQUARE FOOT II
樓花前傳
One Square Foot II continues where One Square Foot left off, but also veers off from questioning the mirage of real estate, to turn its attention to the ontological basis of the material world. With a somewhat playful and irrational stance, images in this series change the fundamental structures of the buildings and re-fashion them into geometric shapes floating freely in midair like gemstones.
《樓花前傳》是《樓花》的伸延系列,由提問真假的現象, 轉向探討物質世界構成的基礎。以一種玩味及看似非理性的態度來處理, 改變建築物的基本結構,以各種角度,靈活地將建築物重構為幾何形狀, 又像名貴的寶石在空間中自由浮動。
LIGHT OF THE CAVEMEN
洞穴人之光
Light of the Cavemen is a series of photos taken at night with multiple exposure. In these photos, an alternative reality is constructed by innumerable apartment windows. One detail in one of them is three pairs of red underwear hanging out a window—supposedly an attractor of good luck. To many people, to be a property owner is to realise a dream of future stability and lasting fortune. So the irony of this detail is that stability and wealth are actually not to be found in the property, but in the hands of Fortune.
《洞穴人之光》是一系列於黑夜中拍攝的多重曝光作品。通過相機觀景器及鏡頭看出去，就如置身洞穴中從細小的洞口去看世界。作品以數不盡的公寓窗戶創造另一個現實—— 仔細看看，那窗戶懸掛着三條據說可帶來好運的紅色內褲。對許多人來說，擁有一所房子是為了未來的穩定和長久的幸福所夢寐以求的，然而，穩定和幸福原來不在建築物內，人們無止境的欲望還得依賴運氣來追求。
FABLES OF MODERN LIFE
現代生活寓言
The Fables of Modernization Life are montages of scenes I have experienced at various points in time, as if they were representations of human history and evolution. These moments of nature and human structures juxtaposed together are my responses to the changes in certain locales as experienced by me. To put them in an array is to put forth a creative process of thought sharing. Who knows? Perhaps they may yet offer up a certain poetry of tenderness to a generation dominated by greed.
《現代生活寓言》就是將我眼前某時某刻的經歷拼綴起來，將我生命中不同的瞬間結合在一起，就像人類歷史和自然進化一樣。這經歷和瞬間中的自然與人類建設，是時間上的某個地方，是一種現實，也是我的想法 —— 是對一處地方的變化的觸動。把它們湊在一處，依次檢視，就成了一種共享思想的創造。且也許，這些作品會給人性貪婪的世代，留下一種溫柔的詩意。
LANDSCAPE
緣起山水
The slow exposure and swaying camera rendered the scenery outside into a blurred, somewhat anachronistic but poetic imagery. I find this quite in step with Nature’s pace. It seems to go beyond the limits of time, and yet in control of the now, resisting the vertiginous and mechanical thing we call living.
以慢速和擺鏡拍攝車輛行駛中的窗外風景,營造了一種既朦朧又古老的詩意景觀。速度與大自然的契合,好像超脫了時間的限制,忘我地自我掌控的當下,為抵抗快速機械的一種精神境界。
WATER ... NOW
水相
“Water . . . Now” expresses the idea that people only pay attention to the colourful materialistic world, and often neglect the substance of time. In fact, surface phenomena may not actually be real; they are transient and are only perceived by happenstance.
“Water . . . Now”, "Brave New World", "The Opposite Side of Monet's Garden" "Hemingway's Rope", "There Is No Island at All", "Scenery in the Rain", "Breezes and Waves", "Wind Graffiti", "Moment by Moment", "Sisyphus's Happy Mountain", "The Poem of God's Particles"
現代人都只愛瞄着方寸屏幕，瞪着五色繽紛，誰會特意走到岸邊，觀看水波盪漾那道風景？水相的幻變，都是鏡花水月，過眼雲煙，水相如世間色相，別人在意那到底真不真，我倒在乎那珍惜的珍。《水相》系列包括：
《水相》《美麗新世界》《莫奈花園的對面》《海明威之繩》《根本沒有孤島》
《雨中風景》《微風與海浪》《風之塗鴉》《時間色相》《西西弗斯的幸福石山》
《上帝粒子之詩》
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LET THERE BE LIGHT
光是看見
Light is the medium in photography. From it emerge both the illuminated and shadowed parts of an image, and it connects that which is visible with that which exists. It gives us visual perception and awakens us to our suffering.
在攝影裏，光是中介，照亮和熄滅影像中的光與影，連結「可見」到「存有」。生命不過是一個行走的影子，在地球上出生，流浪，直到死亡；微小而短暫地存活在時間的長河裏，參與着歷史的某些部分。光賦予我們視覺感知，能夠讓人在痛苦中覺醒。