Interview with Fung Meiwah May by Leung Chiwo Warren
In the first part of the interview, Fung Meiwah May outlines her experiences of switching careers from civil service to art, and her reflections on the past and plans for the future. She also recalls learning to shoot with Super 8mm film in the 1970s and how she started practising art (00:00–7:45). Since her high school days, Fung started paying attention to film screenings and events in the newspaper. As a result, she joined the Phoenix Cine Club and enrolled in the Chinese University of Hong Kong’s Department of Extramural Studies, where Fung was inspired and influenced by instructors such as Kam Pinghin, Clifford Choi, and Lau Shinghon, which led her to begin publishing film reviews and participating in short film productions (7:50–14:50). Fung goes on to talk about how she personally dealt with subject matter in her filmography, asserts that more research needed to be done in Hong Kong’s arts field, and proposes a top-down approach to developing art research (14:50–18:25). Subsequently, as film and processing facilities became unavailable, Fung gradually turned from Super 8mm film to videotape, taking advantage of the convenience that the new technology brought (24:15–27:30). Fung got to know Zuni Icosahedron and was influenced by the group, so she attempted a mixed-media work combining videography and theatrical elements. Building on this experience, Fung created later works including the first-ever installation artwork in a shopping mall, the theme of which concerns Hong Kong’s political development (35:35–44:45). In the middle of the interview, Fung frankly admits that compared to video works, she knew less about of installation art. As a result, she became an autodidact and read more about the genre to be able to analyse works intellectually. However, she also appreciated works that were created from a subjective or emotional standpoint (44:55–55:00). Fung focused more on the works’ contents and message. When it comes to the works’ formats, structures, and materials, she thinks they should be minimalist or even be altered to fit the contents or creative process (1:01:00–1:09:25). Upholding personal convictions while practising art, Fung says, had become rather difficult when faced with political censorship (1:02:55–1:12:55). When making a work, Fung thinks it is almost inevitable that the artist needs to depend on others, but the author should retain his or her autonomy and esthetic judgement (1:10:13–1:24:25). When Fung discusses her feelings about life in Hong Kong, she says she has strong feelings towards Hong Kong, and remains sensitive to what is happening in Hong Kong (1:29:25–1:32:27).
在第一節訪問初段，藝術家馮美華略述剛從政府部門離職後投身藝術創作的感想及打算，同時講述從70年代學習拍攝超八米厘電影開始創作 (00:00-7:45)，及自中學時代開始從報章接觸跟電影活動有關的資訊，期間初次接觸火鳥電影會及報讀香港中文大學校外進修部的電影課程，師承金炳興、蔡繼光、劉成漢等人，從中受到很多關於電影的啟發，開始發表影評和參與短片製作 (7:50-14:50)；馮氏進一步談及個人在拍攝題材上的取向，又認為香港需要投入更多在藝術領域的研究工作，及主張要由下而上的發展 (14:50-18:25)。其後因為菲林的停產和沖印上的困難，加上錄像攝影帶來的方便，馮氏漸漸從拍攝超八米厘轉往錄像，(24:15-27:30)。後來認識進念．二十面體，並受其影響，馮氏開始進行錄像和劇場元素的混合媒介嘗試，亦延伸至後來的裝置創作包括首個在商場空間進行，內容關注香港政制發展的裝置作品 (35:35-44:45)。到訪問的中段，馮氏坦言比較錄像創作，對裝置藝術的認知不足，多以閱讀等自學的方式作理性分析，但同樣欣賞主觀、感性的藝術作品 (44:55-55:00)。馮氏比較著重作品的內容和信息，至於其形式、結構及物料方面，則要簡約甚至可以隨著內容和實踐過程而作出變動 (1:01:00-1:09:25)。馮氏表示面對政治審查的處境，要在創作同時堅持個人立場是相當困難 (1:02:55-1:12:55)。在作品的製作上，她認為很難避免假手於人，但應保留作者的自主性和美學判斷 (1:10:13-1:24:25)。談到在香港生活的感受時，馮氏認為她對香港有很濃烈的感情，對香港的事物也特別敏感 (1:29:25-1:32:27)。