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?
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.
ONE SQUARE FOOT
A reflection of this disorderly and alienated world. The listing skyscrapers play out a black comedy, with the absurdities of the society summarised in their teetering forms.
ONE SQUARE FOOT II
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
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.
FABLES OF MODERN LIFE
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。
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.
WATER ... NOW
“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"
LET THERE BE LIGHT
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.