Appetites, Things, Phantasmagoria

I was just looking through a few images taken on an evening at Fa Yuen Street and on an afternoon in the vicinity of Shamshuipo.

There is that contrast that plays with visibility and lack thereof.

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We see people emerging from darkness.

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We see hands and appetites but not always faces.

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We are reduced to silhouettes of ourselves.

What defines and frames our activities are appetites and things…

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Our appetites and things have become substitutes for our selves … that is how a city becomes a kind of phantasmagoria….

Sham Shui Po

Some time ago at Sham Shui Po, I saw them:

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In Wikipedia’s entry on “Sham Shui Po”, you see this sentence: “Sham Shui Po is an area where urban decay is serious in Hong Kong.”

It is easy to call this documentary photography, in the sense that these are pictures that serve as evidence of social categories such as “urban decay”, “poverty”, “old age”, etc, etc.

It’s hard to see otherwise, but sometimes I think we see things only as we can. Classification is easy because it means you’ve “mastered” the world and have successfully explained what you see to yourself.

At times, though, I could see them as people like myself, living their lives just as I am living mine …

I’ll just end here with the beginning of a poem I’ve been living with for quite some time…

— The Man with the Blue Guitar — (by Wallace Stevens)

The man bent over his guitar,
A shearsman of sorts. The day was green.

They said, “You have a blue guitar,
You do not play things as they are.”

The man replied, “Things as they are
Are changed upon the blue guitar.”

And they said then, “But play, you must,
A tune beyond us, yet ourselves,

A tune upon the blue guitar
Of things exactly as they are.”

Umbrella Man

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I cannot help but be aware of my class consciousness even as I think on this image. He looks up, as if in hope, and the umbrella might shelter him from the harsh sunlight. Yet what has he to look forward to except a life among slightly decrepit buildings such as the one above him in the background? The tattoo of his left shoulder speaks of a defiance against a middle-class, executive presentation of the self. I can understand how such an image could be aestheticized, probably in a film by Wong Kar-wai.

Is this the only narrative I could conjure for him?