聚光燈下【潘小俠.不能遺忘的肖像】
In the Spotlight : PAN Hsiao Hisa: unforgetable portraits
1980年,攝影家潘小俠為了尋找傳說中的天堂前往蘭嶼,從此與蘭嶼結下四十年情緣,長年以黑白銀鹽相紙紀錄達悟族人的生活文化與祭典。在《蘭嶼記事》攝影集中,我們看見了蘭嶼的時代變遷與許多珍貴的部落影像。攝影家張照堂這樣形容潘小俠的作品:「小俠特有的一種憨勇、直覺的本性與態度,透過相機不斷造訪與關注後,卻展現出一種個人獨特有視界:直率、真情、厚實的歲月的痕跡」。
2019年的夏天,《藝術很有事》跟著潘小俠來到蘭嶼野銀部落,他在1980年拍攝的小男孩,已是中年大叔,長老一個個逐漸凋零,即使傳統正在消失,潘小俠拍攝的觀點始終都是心中美麗的達悟族傳統,那些尚未被時代帶走的,還留在某些人身上的,他拍下了老朋友謝福財夫婦穿著傳統服飾,以及文學家夏曼・藍波安,他們身上留存著的海洋氣息。
年輕時,蘭嶼是潘小俠心中的天堂,但當時在本島,民主運動正展開,身為自立晚報攝影記者,他紀錄了鄭南榕與詹益樺自焚事件,長期接觸白色恐怖政治受難者後,潘小俠帶著他們回到歷史現場,以肖像方式拍攝了《白色烙印》,對照著他們過去的青春。《見證228》攝影集,以自身力量在全台尋訪了228位受難者本人或家屬,為他們拍攝肖像。近年來,完成了《台灣美術家一百年》、《台灣作家一百年》,這些系列都是花上許多年拍攝、獨立出版完成。
潘小俠的家,沒有餐桌,沒有客廳,四處佈滿了他所拍的相片,他把自己的生命留給了攝影,留給了台灣的歷史,他說這是身為台灣攝影家的責任。
In 1980, photographer PAN Hsiao Hsia left for Orchid Island in search of paradise. This voyage marked the beginning of his 40-year record of Orchid Island. The record spans years of Tao culture and ceremonial rites captured in black and white salt paper prints. The Photographic Reportage of Orchid Island shows us Orchid Island through the ages; along with several treasured images of the Tao tribe. Photographer CHANG Chao-Tang describes PAN Hsiao Hsia´s work as, “playful, brave, and intuitive by nature. His camera helps express a unique perspective born from continuous interviews and observation garnered through his candor, authenticity, and sincerity throughout the years.”
In summer of 2019, Inside the Arts followed PAN Hsiao Hsia on a visit to the Ivalino tribe of Orchid Island. The boys he photographed in 1980 are now middle-aged men and one by one the elders have gradually passed away. Even though many customs are disappearing, the enduring concept behind PAN Hsiao Hsia´s photography is his fondness for the beauty of traditional Tao culture. That which has not faded with time remains in the heart of his friends as shown in photographs of his best friend, XIE Fu-cai, wearing traditional dress or author, Syaman Rapongan, enveloped in a sea breeze.
A young PAN Hsiao Hsia longed for the paradise of Orchid Island but was soon faced with the emerging Democracy Movement on Taiwan. PAN covered the self-immolation of Nylon Cheng and Yi-hua Zhan while working as a photojournalist at IDN News. This long-term engagement with political dissidents of the White Terror led PAN Hsiao Hsia to bring these men back to several historical sites. In Taiwan White Terror Human Rights History the photographer used portraiture to create a comparative exploration of their youth. The photo book Testimonies of 228 was a later solo project where PAN single-handedly searched all over Taiwan to interview and take portraits of 228 victims or their relatives. He’s recently completed 100 Years of Taiwan Artists and 100 Years of Taiwan Authors a series of indecently published work that includes photography taken over several years.
PAN Hsiao Hsia´s home has neither a dining table nor a living room and each wall is covered with his photographs. He’s given his life to photography and to Taiwanese history. He often says this is his responsibility as a Taiwanese photographer.