WATER...NOW
水相
Past experiences are the reason affecting the modern conflicts, the waves of globalization have broken traditional economic, social and cultural. The ecological crisis such as the greenhouse effect, glacial melting, nuclear power damage etc., are all things related to water that the earth is facing now, but as a matter of fact, do people see all these phenomena and causes? Or do they choose to hold their heads low, spending too much time staring at the mobile phone to surf their news threads on social media to show their care? Could one really understand the world by holding a machine on hand? Who can ensure all these news threads are not a hoax?
In the Water...Now series, John Fung continues to focus on his exploration and questioning the phenomenon in this real world. Technically, it is different from the "One Square Foot" and the "Landscape" series, the Water...Now series is more trends to purity. It merely shows the most original beauty that people have forgotten. By capturing the subtle changes in the undulating water surface and light quality, combined with the wind and the vibrant colours of the tides, John Fung reconciles the perfect natural image with his photos to appear again in front of people.
The whole series is like a painting. If the audience only looks at the surface, they will be surprised by what they see, because the works are real photos and not paintings. This seemingly non-painting surprise is a phenomenon of "seeing the mountains as mountains and seeing the water as water." People are inertia only according to the rules set by the world, and stubbornly believe that what they see is the most real. But in the real world there is too much hypocrisy or hidden hoax, seems dreamy and illusory, truth also false, which makes people lost and anxious. Feeling pain and struggle in maintaining a living space and a harsh competitive environment, fearing to lose everything that they have possessed. Gradually losing confidence in the world, generate suspicion and becoming cold and lonesome. Water...Now provides an entrance for the audience, and a space to think outside the photo "seeing that the mountain not as a mountain, and the water not as water." Photography is not just a record, or a narrative alone to explain the world. What people see is not necessarily true. Just like the water shot by John Fung, it is neither a world of painting nor abstract photography, water and its reflection are always existed in the reality without being noticed. If people carefully understand the world and think about the environment in which they live, they will find more relationships. Then, the mountain you see is no longer straightforward a mountain, and water is not purely water anymore.
The Water...Now series, John Fung explored different states of water or its liquid form, which conveys a message through sensation rather than a language like a family letter, hoping everyone can perceive the pain of disaster, rebuild the relationship, re-communicate, and coexist with nature.
Respect for life, fear of nature, should be the core value shared together worldwide.
過去的經歷正影響著現代的矛盾，全球化的浪打破了傳統經濟、社會及文化思維。接連出現的溫室效應，冰川融化，核電遺害等生態危機成為了地球現在逼在眉睫要面對的事情，但事實上，人們是否真的關心這些現象，了解其出現的原因？ 或是他們選擇低著頭看著手上的智能電話，花極多時間在社交媒體上瀏覽最新動態，以表達他們的關心？ 一機在手，真的能知天下事？ 誰能證實這些現實世界的一切現象都是真實不虛？
在「水相」系列中，John Fung 一如以往， 繼續致力於他的探索及質疑這個現實世界的所謂真實現象。在美學及技術上，有別於「樓花」及「緣起山水」系列，「水相」系列更趨向純粹，只單純地把最原本的美直接用鏡頭展示。 John Fung透過捕捉波動的水面及光線質量的微妙變化，配合風向和潮夕豐富的色調，讓自然完美無瑕的境象憑藉相片再次表現在人的眼前。
整個系列像是繪畫，如觀眾只依從表面觀感去看，將會對他們所看到的感到驚訝，因為作品都是真實的相片並非繪畫。這個似畫非畫的驚訝，是一種「看山是山，看水是水」的現象，人們慣性地只按世界設定的規則，固執地相信所見到就是最真實。但現實世界裡有太多虛偽或隱藏，如夢似幻，似真亦假，令人們迷失徬徨。在維持生存空間，及壓迫的競爭環境中感到痛苦與掙扎，懼怕失去所擁有的一切。漸漸對世界失去信心，產生猜疑和變得冷寞。而「水相」就是提供了觀眾一個入口，一個空間去思考在照片以外「看山不是山，看水不是水」的意義。攝影並不只是記錄，或單靠敘述去解釋世界。人們看到的並不一定是真實，就像John Fung 拍攝的水，既不是畫的世界，也不是抽象攝影，只是一直在現實中存在而没有被注意的水和倒影。若人們用心地去體會世界及思考其存在的環境，便會發現有更多關係蘊含在內。看見的山不再是單純的山，水也不是單純意義的水。
作品以「水相」系列為主軸，通過水的不同形相，以感性而非語言的方式傳達，「水相」像是一封家書，告訴所有以地球為家的人，希望每個人能從災難的痛苦中覺醒，與大自然重新溝通，永續地相處，建構更緊密的關係。
以尊重及敬畏自然作為全人類所共有的價值。
The message in Water . . . Now—There Is No Island at AllThere Is No Island is the idea that everyone on earth is connected to everyone else through the land they stand on, much as islands do not float freely on the oceans.
《根本沒有孤島》要表達的，是地球上每個人的腳下都連結着土地，島嶼也不是在海上漂浮的。
Buildings after buildings cast their reflections on the water on either side of the Victoria
Harbour. The razzle-dazzle evidence the transformation of the world by human civilization. The photos in the series Water . . . Now — Brave New World look like aerial images reminds me of the biblical story of the Flood, in which, after the world’s sins have been devoured by the raging water, a dove flies off from Noah’s Ark in search of a
new land.
在維多利亞港的海旁,海水反映著五光十色的建築物,彷彿見證了一個新世界形成的演變過
程,人類的文明組成了《美麗新世界》。看起來像鳥瞰的航空照片。讓我想起聖經
故事中,大水掩蓋了人類的墮落之後,諾亞的鴿子從方舟中飛出,尋找新的土地。
"Wind Graffiti", "Scenery in the Rain " and "Breeze and Waves" record the various water appearances in the changing weather, and I pray that future deluges do not bring about too much misery. Wind Grafitti is attempting to enter a deeper spiritual level and inner sustenance, in between the Eastern oriental landscape ink drawings and the Western landscape paintings, reconstructing, bringing some new possibilities to the contemporary photography art.
《風之塗鴉》《雨中風景》《微風與海浪》記錄了天氣變化中所呈現的各種水相面貌，祈求未來的大雨不要帶來很多的痛苦。《風之塗鴉》試圖進入更深的的精神層次與寄託，在中國傳統山水畫與西方的風景畫之間，重新建構，給當代攝影藝術帶來一些新的可能性。
"Wind Graffiti", "Scenery in the Rain " and "Breeze and Waves" record the various water appearances in the changing weather, and I pray that future deluges do not bring about too much misery.
《風之塗鴉》《雨中風景》《微風與海浪》記錄了天氣變化中所呈現的各種水相面貌，祈求未來的大雨不要帶來很多的痛苦。
"Wind Graffiti", "Scenery in the Rain " and "Breeze and Waves" record the various water appearances in the changing weather, and I pray that future deluges do not bring about too much misery.
《風之塗鴉》《雨中風景》《微風與海浪》記錄了天氣變化中所呈現的各種水相面貌，祈求未來的大雨不要帶來很多的痛苦。
People flock to see Monet’s Waterlilies without knowing why, and, blindsided by its superficial lights and shadows, its colours, and its accolades, end up missing Water . . . Now—The Opposite Side of Monet’s Garden The Opposite Side of the Monet’s Garden in the process.
遊人慕名前去觀看莫奈筆下的荷花，為了那印象的表象光影、顏料而讚歎，錯過了《莫奈花園的對面》。
A boat with the name Hemingway tied to the pier, it was a poignant and tension-filled metaphor of a person’s fate being tied to the land. Water . . . Now—Hemingway’s Rope reflects the trials we experience in life through time, and expresses the idea that, no matter how arduous the process, our heart ultimately returns to the land where we are rooted.
一艘名為「海明威號」的小船，它的船纜繫着碼頭的樁柱，好像命運必然連繫着土地一樣，充滿着掙扎與張力。
Through capturing the different states of water at different times, Water . . . Now—Moment by Moment 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.
藉着水不同時刻的反映，表達人們只關注物質世界而看不見時間的本質。其實，一切表象都未必是真確的，只是因緣際會映入眼簾，還轉瞬即逝。
One could almost see the straining back of Sisyphus among the mountains, as he labours on obstinately but futilely with his boulder.
濃密的山景,彷彿看到了西西弗斯孤獨的身影,隱隱地推著巨石,堅持做著別人看不見其意義的事。
Water . . . Now—The Poem of God’s Particles is about a particle without mass. The square frame of a photograph has a geometric orderliness that is cool and pure. The closely packed shapes create an organic texture, which stretches and shifts endlessly; one almost feels in them the hot and cold of emotions.
《上帝粒子之詩》是關於沒有質量的粒子！攝影的方形邊框線條給予幾何的秩序感，冷而純粹。細密的圖案傳達有機的質感，不斷變化伸展，似是情緒散發着温度。