Interview with Pang Steven Kawing by Leung Chiwo Warren
Artist Pang Kawing talks about receiving training in drama when he was a student at Ying Wa College, and being influenced by his art teacher. He was particularly fond of the uninhibited atmosphere in the art room when he was rehearsing drama with other schoolmates (00:00–14:20). In high school, Pang began to organise activities, and express himself through learning about drama and performing on stage (16:10–25:00). He later enrolled in the Department of Fine Arts at the Chinese University of Hong Kong, where he and other students founded 20Beans + a Box. When it comes to stage production, Pang applies the painting aesthetic which he developed throughout his formative years on the design of visual space (25:00–34:27). After getting involved in the 20Beans + a Box stage production, he says, he started practising installation art, with which different ways of handling body movements, stage space, set production, and textual elements were considered and applied. Pang also stresses various roles – as a participant or as a leader – played by the individual in collective stage production (38:30–51:30). Pang continues to compare the differences between painting and stage production, particularly in terms of the treatment of materials, lighting, and display (51:34–53:36). He also mentions that his teacher Kurt Chan encouraged him to practise art through different means (54:16–56:27). Pang goes on to elaborate the differences between installation art and painting in terms of choosing materials and producing the work (56:32–1:03:00). Pang talks about a number of people who have influenced his art. He drew inspiration from reflections on life, and that’s the reason why, Pang says, he loved using 'communication' as the subject matter of his works. He feels that it is more difficult to communicate with the audience through personal artworks than the stage (1:10:00–1:20:15). Pang goes on to discuss his considerations for using text and display techniques in his art, and emphasises the authorship in the production process (1:28:00–1:32:10).
藝術家彭家榮在訪問開首憶述就讀英華中學時代開始接觸戲劇訓練，並詳述受美術老師在繪畫上的薰陶，及如何在美術室享受與其他同學一起排練戲劇的自由氣氛 (00:00-14:20)。彭氏在中學時期已開始自組活動，並透過認識戲劇及舞台表達自己 (16:10-25:00)；其後進入香港中文大學藝術系，並與中學及大學同學創辦「廿豆．盒子畫」，把早年訓練的繪畫美學放到舞台的視覺空間設計上 (25:00-34:27)，並解釋道在參與「廿豆．盒子畫」的舞台製作後，如何才實踐裝置藝術的創作，以及在形體動作、舞台空間和佈景製作、文字元素等方面的不同處理；同時強調個人在舞台製作的集體創作中的參與和主導角色 (38:30-51:30) 。彭氏接著比較繪畫與舞台在處理物料、燈光和展示在上的分別 (51:34-53:36)，也提及老師陳育強鼓勵以各種方法實踐創作 (54:16-56:27)。彭氏進而閳析裝置與繪畫在物料選材和製作方面的分別 (56:32-1:03:00)。彭氏又談及幾位影響他藝術創作的人物，並解釋他愛以「溝通」為作品題材，是啟發自他對生活的思考，又感到個人創作比舞台作品較難和觀眾溝通 (1:10:00-1:20:15)。彭氏再進一步解釋在創作中對文字的使用和展示技巧上的考量，尤其著重製作過程及作者的主導性 (1:28:00-1:32:10)。