In an old article, the interviewer attempted to draw a comparison between Feng’s photography and his original field of study – Chinese medicine and acupuncture – writing, “It’s as though he approaches portrait photography as clinical cases. When the bulb’s warning light flashes, he’s able to accurately pinpoint the illness’s acupuncture point.” When I asked Feng, however, if he thought his previous profession influenced his artistic work, he replied that he thought the period had at most an indirect connection.
In such a response, one sees ties to the fact that even within the realm of artistic photography, he does not seem to care for either comparisons or a discussion of influences. White Night began when he was taking photos for his job as a photographer with the Chengdu propaganda department; that evening, he recalls, was particularly foggy, and the fog and the lights wrapped themselves around each other in surreal ways which reminded him of scenes from films by influential directors such as Angelopolous or Tarkovski. When I brought up this story, however, with a shrug, he replies, “It happens those are a few of what amount to the few films I’ve seen.” When I asked about photographers he’s named in the past as being of interest – Diane Arbus, William Eggleston, Nobuyoshi Araki, Han Lei – he said he had never used his own photographs to draw any comparisons to those of others, and that he rarely looks at photo books himself.
即使在摄影领域，冯立似乎也不太爱比较或讨论影响的作用。《白夜》这个系列，开始于他在成都市宣传部门当摄影师的时候。在他记忆里的那个夜晚尤其模糊，蒸腾的雾气和朦胧的灯光，以超现实的方式把夜包裹，这让冯立想起了安杰洛波卢斯（Angelopolous）或塔尔科夫斯基（Tarkovski）等导演的电影场景。然而，当我提起这些的时候，他却淡然地答道：“碰巧这些只是我看过的为数不多的几部电影中的一部分。”当我问及他曾提起过感兴趣的摄影师，诸如黛安娜·阿伯斯（Diane Arbus）、威廉·埃格尔斯顿（William Eggleston）、荒木经惟和韩磊时，他说他从来没有用自己的照片来和这些人作比较，他自己也很少看影集。