║ Zhang Huan ║

© Zhang Huan, Shanghai Family Tree, 2001, Shanghai, China

“Family Tree broadens this vein of exploration to describe the domestic scene as a site of initiation into ideology. The photographic series comprises nine sequential images made at regular interval from dawn until dusk on one day. Again, they all feature the face of Zhang Huan, the physical trace of his lineage. Throughout this process, the artist dictated to three calligraphers a stream of familiar names, personal stories, learned tales, and random thoughts. Each was transcribed in ink onto the artist’s face until, at the end of the day, he was completely covered in a thick layer of black pigment. Here, the contents and processes of an individual consciousness, learned from forebears and / or organized according to systems of belief conditioned by experience with them, become a mask or second skin. They are inseparable from that which the rest of the world takes to be a unique identity and original producing consciousness.”
Thom Collins

© Zhang Huan, Family Tree, 2000, New York, USA

“This idea is made iconic in Foam. Zhang Huan’s face is isolated in the ten pictures in the series. In each, he appears covered in white suds like sea foam with a snapshot of members of his wife’s family or his own bursting out of his mouth as if it were a sound. Here, Zhang Huan appears new-born – covered with a substance that might refer to both the human birth process and the birth of a mythological character in the waves – but also in the throes of an irresistible utterance. This speech act, his pictures suggest, while an expression of self, has also inevitably been shaped by his own lineage and that of his life partner and mother of his children. His ancestors speak through him.”
Thom Collins

© Zhang Huan, Foam, 1998, Beijing, China

“I invited 3 calligraphers to write texts on my face from early morning until night. I told them what they should write and to always keep a serious attitude when writing the texts even when my face turns to dark. My face followed the daylight till it slowly darkened. I cannot tell who I am. My identity has disappeared.“
Zhang Huan

To see more of Zhang’s work click here

║ Mu Chen and Shao Yinong ║

© Muchen and Shao Yinong, Shenfan

© Muchen and Shao Yinong, Shen

“Husband and wife Shao Yinong & Mu Chen work together in Beijing to create photographs that illuminate the facets and functions of memory – a poignant process in China where a conservative agricultural society has been propelled within a few decades into an economic superpower. Their series “Assembly Hall” consists of documentary photographs of spaces annexed during the Cultural Revolution for political meetings. The halls’ various subsequent fates mirror the experiences of people who have lived through China’s period of extreme political turmoil. Shao Yinong and Mu Chen’s large scale color photographs have attracted critical attention not only for their ability to evoke and examine the tension between the political past and the political present, but also for the subtle beauty of their images. Their work has been widely exhibited, particularly in the important Alors la Chine exhibition at the Pompidou Center in Paris and in Arles.“
Source: Goedhius Gallery

More of their work can be seen here and here.

║ Shen Wei ║

© Shen Wei, Jamie, 2006, from the series Almost Naked

© Shen Wei, Mireille, 2008, from the series Almost Naked

© Shen Wei, Steve, 2006, from the series Almost Naked

“Growing up in Mainland China, I was brought up strictly and conservatively, any untraditional and unconventional ideas of life-style can sometimes lead to misconceptions. I was numbed about the ideas of intimacy, sexuality, and love. Since I moved to the United States, my needs for self-expression has grown. However, my curiosity about how others deal with their identity in what is a fairly open society like America has increased. As a result I started to photograph people and life in America.

The goal of my projects are to raise the question about human nature, about emotions, feelings, desire, instinct and identity, to reveal things that you can feel it, that are unexplainable but yet still solid. I am fascinated with exploring the complexity of emotional nakedness and psychological connection/disconnection, as it is often expressed not specifically but explicitly. Certainly my photography is my perspectives and how I look at people and life in America. But most importantly, I want viewers of my work to make their own discoveries and judgments of my photographs.”

Shen Wei

More of his work can be seen here

║ Wang Qingsong ║

© Wang Qingsong, Tramp, 2004

© Wang Qingsong, Night Patrol, 2005

” I think it is very meaningless if an artist only creates art for art’s sake. For me, the dramatic changes in China have transformed China into a huge playground or construction site. Whenever I go into the city I feel suffocated by the pollution, social contradictions, and so forth. All of these factors contribute to the fact that artists cannot just make art for art’s sake. I think it would be absurd for an artist to ignore what’s going on in society.
I have the right and I’m capable enough to depict the environment in China because I am familiar with this society and it is close to me. Also, I can do it right and I can do it accurately. I admire some photographers like Andreas Gursky. He took some photographs of garbage, which is similar to something you would see in China every day. I just hope to continue making more and better photographs in the future.”
Wang Qingsong

* for full interview click here