方顯楠
方顯楠
FONG Hin Nam
Previous Works
FONG Hin Nam

Fong Hin Nam’s practice is mainly on contemporary imaging processes. He explores the possibilities to manipulate images as well as experiments the nature and iconic value of images; drawing as a mark-making process and photography as an optical imaging process, are usually in his creative practice and let him understand the ways of seeing with images. The creative project by Canadian photographer Jeff Wall and Japanese photographer Hiroshi Sugimoto influence Fong a lot. Jeff Wall’s practice raises Fong’s interest in examining the indexicality and liability of photographs whereas Sugimoto’s film theatre series and the seascapes project trigger Fong’s alternatively working on some abstract ideas visually like time or solitude. Fong expands his practice beyond merely shooting; his mark making on photographs testifies to the fluidity and subjectivity of images. Believing that there is a hybridity of images, Fong usually does his practice in an interdisciplinary approach. Therefore, his practice mostly integrates drawing, photography and moving image and he is currently working on found photos manipulation and experimental moving image.

方顯楠的創作重心是當代影像的再現。他探索改造影像的可能性,進行影像的本質和指向性的實驗。方顯楠以繪畫作為痕跡創作;以攝影作為光學影像探索,不單是他的創作方式,亦是他理解的方法。 方顯楠由純攝影開始拓展他的創作,以痕跡創作證明攝影的流動性和本質。基於影像的多元性,他的創作多為跨媒體作品,混合繪畫、攝影和活動影像。 他現在主要從事現成影像再造和實驗性活動影像。

To the Sea

2018

Monoprint

59.4 × 84.1 cm

Walking towards the sea, the details fade and the paint takes place. Experiences are no longer describable anymore.

Displacings

2018

Video (no sound)

1 hour 20 minutes 17 seconds

Cruising on a tram around the Island, time and the tram proceed in a linear fashion but my thought and travel experience do not. What I see is vague. How I feel is abstract. Such ambiguity is my own way to dislocate in this city.

Art Room Fade, What Stays

2016

Ink on paper

50.8 x 50.8 cm

The distance between the art room in my secondary school and me is totally filled with my memories and experiences. Every brush stroke and burnt on the film are just like the routine that I did in the art room every single day; they seem to be the same but so unique and personal, just like how I lived in the art room for that three years. The burnt out texture on the negatives not only shows the repetition of my art room life, it also reflects the reaction and specific bonds between me, the art room and my own memories in the art room. The films finally come tactile as well as uncontrollably curvy, which cannot be plagiarized and counterfeited but have to be experienced and worked out.