檔 販 們 齊 集 在 市 集 內 的 十 字 路 口 The Hawkers gathered at the crossroad in the street market
Artist Statement
“Street Market” is a place where goods change hands amid the hustle and bustle, fueled by energy and action. Viewed through the lens of the “Collective Space” concept, the “Street Market” should be a place where a person is free to possess and exercise his or her individual legal rights, uphold an individual’s self-worth and dignity as well as fulfill an individual’s lifelong goals and dreams. During my two-month photo-shooting and interviewing process, I felt deeply that the “Collective Space” of the Wanchai Street Market was under serious attack. In spite of this, those who live in this “Collective Space” continue to pursue and fight tirelessly for their inherent rights, dignity and dreams.
One of the natural advantages and characteristics of photography as a visual medium is its ability to serve a documentary function. The photos in this exhibition were taken according to the “participant documentary” methodology. It may appear to you that there is a contradiction between “participation” and “documentary”. But it is important to note that the aim of “participation” is not to make deliberate changes. Instead, the objective of “participation” is to extract the underlying forces that drive the actions and emotions of the street hawkers in the concrete busy street markets, and place them in a virtual space away from influences of the external environment or confinements of self-identification. By doing so, what you see in front of the camera is no longer street hawkers striving to serve their customers - but individuals filled with dignity. The purpose of “documentary” is precisely that of capturing this inner sentiment and passion.
People who live under the “Collective Space” possess, on the one hand, the emotions of an individual person. At the same time, they also hold onto the goals and dreams of the “Collective”. Their collective goals and dreams are founded on, crystallized, and strengthened by their reluctance to bow to suppressions, to external forces that rob them of their dreams – dreams that infuse oxygen into their lifeblood. It is against all the wishes of the “Collective” that these individuals will become part of society’s broken memories. As such, photos capturing the many lost, dazed and confused faces were taken to reflect the “documentary” aspect of the “street market”.
Artist John Berger commented in 1980 that photographs by its mere texture cannot be treated as if they were memories for preservation. Photographs function best as instruments to provide credibility with a serious viewpoint. I have therefore also prepared a slide show using an “observation documentary” photographic technique so that observers, like you and me, can discover the inner memories of these photographs.
One of the natural advantages and characteristics of photography as a visual medium is its ability to serve a documentary function. The photos in this exhibition were taken according to the “participant documentary” methodology. It may appear to you that there is a contradiction between “participation” and “documentary”. But it is important to note that the aim of “participation” is not to make deliberate changes. Instead, the objective of “participation” is to extract the underlying forces that drive the actions and emotions of the street hawkers in the concrete busy street markets, and place them in a virtual space away from influences of the external environment or confinements of self-identification. By doing so, what you see in front of the camera is no longer street hawkers striving to serve their customers - but individuals filled with dignity. The purpose of “documentary” is precisely that of capturing this inner sentiment and passion.
People who live under the “Collective Space” possess, on the one hand, the emotions of an individual person. At the same time, they also hold onto the goals and dreams of the “Collective”. Their collective goals and dreams are founded on, crystallized, and strengthened by their reluctance to bow to suppressions, to external forces that rob them of their dreams – dreams that infuse oxygen into their lifeblood. It is against all the wishes of the “Collective” that these individuals will become part of society’s broken memories. As such, photos capturing the many lost, dazed and confused faces were taken to reflect the “documentary” aspect of the “street market”.
Artist John Berger commented in 1980 that photographs by its mere texture cannot be treated as if they were memories for preservation. Photographs function best as instruments to provide credibility with a serious viewpoint. I have therefore also prepared a slide show using an “observation documentary” photographic technique so that observers, like you and me, can discover the inner memories of these photographs.
