Often cast as an unruly artist in his younger days, John Fung has always been deeply concerned about the human condition and its interconnectedness with nature. Suffering, be it people's or nature's, moved him. Steadfast in being true to his soul, his photographic work shimmers with arresting authenticity - which only gets more intense with time. His later works transcend the physicality of the subject being photographed. They have elevated into something beyond, as boundless as your imagination lets you. 

When entering John Fung’s world of photography, there is an early tendency for the documentary format (Ten Years On, 1976–86) to abstraction (Water . . . Now, 2016–), with a turning point in between (One Square Foot, mid-2000s). In Let There Be Light nearly two hundred works are grouped into three sections, each broadly signifying a stage in his artistic practice: Wander, Dust, and Asway. A mapping of keywords helps to explain his motivations, techniques, ways of seeing, states of mind, and aesthetic choices:

Wander / Straight photography / sight / real / humanist

Dust / mirage / envision / surreal / critical
Asway / nuance / ultra-close looking / ethereal / sensational

 Let There Be Light is a two-volume set. Volume I: Selected works; Volume II: Text.

攝影師馮建中的創作歷程,由《茫茫十年》(1976–86)到《水相 》(2016–),很容易給 貼上「由紀實朝向抽象」的標籤,而始於 2000 年代中的《樓花》,可視為重要的拐點。 馮建中攝影專集《光是看見》,選錄作品接近二百幀,劃分為三個部分,以顯示馮不同 階段的藝術實踐:流浪、塵埃、婆娑。按馮建中拍攝的動機、手法、心理狀態、美學 取向等,拼湊三組關鍵字如下,可更有系統地理解他的創作歷程:

流浪 —— 直接攝影 —— 看見 —— 真實的 —— 人文關懷
塵埃 —— 蜃影 —— 預視 —— 超現實的 —— 批判
婆娑 —— 攝覹 —— 凝視 —— 靈性的 —— 直接的感官觸動

 《光是看見》,一書兩冊。冊一:作品選錄;冊二:評論文字。