Page 73 - Reader's House Magazine Issue 52

world of the characters you portray?
My creative process begins with unders- tanding the emotional core of the concept
or subject I’m working with. I spend time reflecting on the psychological nuances I want to evoke, whether it’s vulnerability, strength, or transformation. From there, I incorporate abstract and surreal elements to create a visual language that mirrors these emotions without being bound by realism. I often use lighting, color, and unconventional angles to suggest an altered or dream-like reality, allowing the viewer to step into the internal world of the character. During the shoot, I work closely with the model, encouraging them to channel specific emotions, which helps bring out a raw, authentic expression. The delicate ba- lance between surreal imagery and emotional depth is where I believe the psychological richness of my work emerges.
As both an artist and a fine art photographer, how do you navigate the balance between fashion photography’s commercial aspects and your more personal, conceptual explorations of gender and the human body?
Navigating between the commercial nature of fashion photography and my personal conceptual work requires a constant balancing act. In fashion photography, the visual langu- age often needs to align with brand identity and market trends, which can sometimes feel limiting.
However, I see this as an opportunity to bring my own voice into commercial projects by subtly weaving in themes of gender fluidity and the human body’s complexities. When working on personal projects, I have the fre- edom to fully explore these concepts without constraints, diving deeper into abstract interp- retations of identity and embodiment. I strive to find intersections where the artistic and commercial worlds can coexist, creating ima- ges that not only fulfil commercial needs but also provoke thought and emotion, allowing both worlds to inform and enrich each other.
You’ve been recognized with prestigious awards like the SONY Young Photographer Award and the World’s Top 10 Women Photographers Con- test. How have these accolades influenced your career, and what role do you see awards playing in the development of your artistic voice?
Receiving awards such as the SONY
Young Photographer Award and recognition
in the World’s Top 10 Women Photographers Contest has greatly influenced my exploration of gender, identity, creativity, and technology. These accolades have given me the platform to delve deeper into these themes, allowing me to continue challenging traditional narra- tives around gender and identity through my work. They have affirmed my artistic direction
and opened new pathways for creative colla- borations where I can further merge techno- logy with the human form. While awards are not the only validation, they play an important role in providing the space and recognition to push boundaries and experiment more freely, encouraging me to expand my exploration of posthumanism, fluidity, and innovation in both photography and art.
As you pursue your PhD at King’s College London, how do you integrate your academic research with your visual art practice? Are there any particular philosophical or theoretical concepts that have recently inspired your work?
My PhD research has deeply informed and enriched my visual art practice. I explore the intersections of posthumanism, gender studies, and identity, drawing heavily from theoreti- cal frameworks that challenge human-cent-
ric perspectives. Concepts such as Donna Haraway’s cyborg theory and Rosi Braidotti’s posthuman subjectivity have particularly ins- pired me to think beyond traditional represen- tations of the body. These ideas resonate in my photography, where I often merge organic and mechanical elements to represent fluidity in identity and gender. The academic environ- ment allows me to critically engage with these philosophical discourses and translate them into visual narratives. My research also helps me push the boundaries of how technology, the human form, and identity interact, making both my scholarly and artistic work extensions of each other.
J”In my pho- tography, I use
oriental metaphors to challenge and expand traditional gender narratives.”
– Yang
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