I live in Inner Mongolia, Northern China, where there are endless grasslands and Gobi deserts and clustered galloping horses and falcons. The unique living environment and images in my eyes have enabled me to ruminate and think over pictures and realism elements that I have seen since my childhood.
My university courses have laid a foundation for my photographic learning during my postgraduate period. I have formed my own academic comprehensions of photography from sketching colour and Visual Art Appreciation, to the Basics of Photography and the Technique of Film-making. Different from paintings, photography emphasises its objectivity at a radical level. In other words, photography is the primary form of this entity, which has gotten rid of time lapses. I begin to be obsessed in the research on the “Ontology of Photographing Images” proposed by André Bazin. His academic ideas provide theoretical guides for my photographic understanding.
During the postgraduate period, my main research direction considers the relation between human will and the natural world. I’m interested in the “reconfigurability” caused by the natural world, the industrial society and human beings.
Driven by new technologies, photographic arts have experienced continuous changes, some photographic theoretical boundaries are disappearing and photography demonstrates an extremely plastic feature. In addition, photography possesses more exploratory features and theoretical extensions in many aspects, such as visual communication and artistic expressions.