Ron SANG

 
 
 

 

Ron SANG

Among the other participants in the project, Ron SANG is the first generation Chinese who moved to New Zealand from Fiji when he studied architecture at the University of Auckland. A renowned architect, art collector and art book publisher, he is known as the architect of New Zealand icon photographer Brian BRAKE’s home in Titirangi. We had a few conversations about his professional and personal relationship with BRAKE and his passion about collecting contemporary art. My idea of taking his portrait in the home that he built for BRAKE was well received by Ron but he had no objects from his family for my project. When I visited him again, he was sketching the floor plan of a new home design and the idea about the object from his family sparked. For him, his professional work and his art collection are his family – his Second Family.

BRAKE’s iconic Monsoon Girl surrounded by contemporary designers’ chairs in a tilted position is at odds with Ron’s portrait sitting boldly on the chair that was passed down by BRAKE to the current home owner. For Ron, as an architect and art collector, there are disciplines but no rules. Similarly, my photographs aren’t bound by rules, only disciplines.

 

King Tong HO

2015


 

Ron SANG

这拍摄计划的众多参予者中, Ron SANG 是唯一从菲济移民至纽西兰的第一代, 那时他在奥克兰大学修读建筑课程。他是知名建筑师和当代艺术收藏家, 最令人知晓的是他纽西兰名摄影师 Brian BRAKE 设计在 Titirangi 的家。当我与他谈他的建筑专业、与BRAKE 的关系及收藏的艺术品时, 他赞同我的建议:在 BRAKE 的家替他拍肖像。但是他没有由家庭早辈留传的物品, 以供拍摄。我再次探访他时, 他正在绘制一幅新居设计图, 我当下有了主意:他的专业和艺术品收藏, 就是他的“第二家庭”。

BRAKE 的标志性作品 Monsoon Girl, 旁边摆满斜放的现代设计座椅; 充满自信的 Ron, 坐在 BRAKE 留给房子现今主人的椅子上。作为建筑师及艺术品收藏家的 Ron, 有的是法则而没有规条;同样, 我的照片, 只有法则而不受形式所限制。

 

何经棠

2015


 

Ron SANG

這拍攝計劃的眾多參予者中,Ron SANG 是唯一從菲濟移民至紐西蘭的第一代,那時他在奧克蘭大學修讀建築課程。他是知名建築師和當代藝術收藏家,最令人知曉的是他為紐西蘭名攝影師 Brian BRAKE 設計在 Titirangi 的家。當我與他談他的建築專業、與 BRAKE 的關係及收藏的藝術品時, 他贊同我的建議:在 BRAKE 的家替他拍肖像。但是他没有由家庭早輩留傳的物品, 以供拍攝。我再次探訪他時,他正在繪製一幅新居設計圖, 我當下有了主意:他的專業和藝術品收藏,就是他的「第二家庭」。

BRAKE 的標誌性作品 Monsoon Girl, 旁邊擺滿斜放的現代設計座椅;充滿自信的Ron,坐在 BRAKE 留給房子現今主人的椅子上。作為建築師及藝術品收藏家的 Ron, 有的是法則而沒有規條;同樣, 我的照片, 只有法則而不受形式所限制。

 

何經棠

2015