Leslie, let's talk about your work 'Illuminate Hong Kong'. How did you develop an idea for this project. What are you trying to achieve with it?

Leslie Montgomery (LM): When millions of Hongkongers took to the streets early June 2019 to protest against the extradition bill, I saw just how many people had something to say. As the protests evolved, chaos and violence escalated from both the protesters and the police - even peaceful protesters were being arrested for saying something. There was an increasing culture of fear when talking about things: people started wearing masks and were worried about being arrested, harassed. Or being afraid to offend friends and family over their personal opinions. I was really interested in what people had to say and wanted to get more personal with them while making them feel protected. 

'Illuminate HK' is about Hong Kong people coming out with their opinions, stories, fears, and hopes, but with the comfort of knowing their identity would be protected. I wanted to show where people came from and show the broad spectrum of opinions surrounding the protests'


7.10.19

LM: I have been in Hong Kong for almost a decade. I am always working on some kind of photography project, whether professionally or for personal work. 

How, in your opinion did city the change over the time (socially, culturally, visually)?

LM: Hong Kong has traditionally been a port city, a city in flux. For a lot of its history, it was a place where people could work and prosper rather than live - a means to an end. But after several generations, there was an emerging group of Hong Kong people who grew up here and saw Hong Kong as their home. When Hong Kong was handed back to China in 1997, I think there was a real re-examination of the city's identity - what did it mean to be a Hong Kong person in a place that was historically a means to an end? What are the defining characteristics of a Hong Kong identity? I think this identity re-examination has influenced the culture of the city socially and visually. 

Hong Kong is an accident in many ways - its history is truly unique and one-of-a-kind. Visually, I love the iconic neon street signs that fill the city with colorful light. I used a similar type of lighting in Illuminate Hong Kong to light the subjects. The neon light is a symbol of the streets that many have taken to as their battleground. I wanted to show this element extending into their personal environment. 

LM: I could tell some people wanted to share how they felt but were reserved, fearing that they would be exposed while others wanted to be heard. Often what I talked about with people during the shoot would be very different from what they would write in their statements. I decided to use light to hide the identities of the subjects. The light acts as a protective mask while allowing people to share their thinking. I liked this inversion of light - traditionally something that exposes is now something that protects. This device helped people open up, and I was able to get more participants. But I still had some people I photographed that changed their minds later and asked not to have their photo shown fearing someone might recognize them. It was an ongoing process. How do you establish your access? L.M.: It was initially difficult for me to find willing people, but ensuring their anonymity helped. Some participants who were willing to be photographed would recommend me to another person. On the website, there is an email if people want to reach out, but thus far, the best luck is through directly asking someone.

Do you consider Illuminate Hong Kong a documentary project? Why did you choose the medium of photography instead of video, for example?  

LM: While making this project, I wasn't thinking of it as documentary as much as a platform for dialogue and an intimate glimpse into who Hongkongers are - I believe we glean a lot from seeing places where people are comfortable and consider their home. While a lot of my more recent work has been in the video, video is a medium that moves very quickly. I think photography and writing are both mediums that are more static and allow a deeper kind of examination, which accentuates the personal and intimate nature of this project. Also, as I wanted to protect people's voices, photography, and writing better served the purposes of this project.


5.10.19

"I come from Shenzhen and have lived in Hong Kong for nearly a decade. 
There is a wide spectrum of opinions among mainlanders towards this summer's protests. I have felt very much conflicted. On one hand, Hongkongers’ negative sentiment towards China is at an all-time high. On the other, people on my WeChat Circle expressed views that are groundless or very much one-sided. I’m sad because I love China and I love Hong Kong, but this wall between Hong Kong and China is just getting higher and higher.

I’ve been reticent on social media because I know for certain that my views will anger both sides and both sides would accuse me of being brainwashed. There’s no point in me trying to argue with anyone when there is so much misled and deluded bigotry from both sides. 

I feel sorry for the police even though I understand not all what they did was right. It’s not like the protestors are absolutely saints and flawless even though they are absolutely on the moral high ground. I’ve heard protestors throwing very foul language at police. I’m also very against those who spread police officers’ private life on the internet. 

I don’t agree with the violence but that only means I would not participate myself. As I do understand why some people think violence is necessary and peaceful protest is not enough, because I could feel their desperation to protect the core values of their home and the hopelessness underneath. I understand where all the anger is coming from and how it has accumulated over the years. Violent protest is a way to show anger even though the city’s economy and people's normal life have been at stake. Maybe it’s naive of me to hope that it’s a lesson learned for the Chinese authority, that Hongkongers cannot be trifled with, that Hong Kong’s core values must be protected and respected. 

In the meantime, I’m also very concerned about how little still some Hongkongers know about China. Hong Kong has freedom of the press but people only pick up bits and pieces without having a full picture. Rejecting China as a whole would mean not only are they 'frogs being boiled by warm water', but also 'frogs that live at the bottom of a well' having tunnel vision. I know this has been said many times in Chinese propaganda. But I truly believe Hongkongers should not be blinded by their political views."

Leslie Montgomery©, Illuminate Hong Kong, 2019

Tell us about your photographic approach and your artistic research? What is the process of deciding what to shoot next?

LM: For me, a project stems from something small or a question I have. I'm a very visual person, so I'll usually have a visual look at how I want it to look in my head. As I start to shoot, the project always evolves because you can't know all the kinks and challenges until you get there. I can do research all day on a computer, but the most valuable research for me is to tell someone about my project and see their reaction.

 
3.10.19