Xinyu Gao, a skilled artist with talents spanning multiple disciplines, was lured to London by its rich cultural offerings. Guided by intuition and a deep appreciation for life, she is compelled to immortalise fleeting moments. Her work exudes a delicate beauty, showcasing her keen eye for aesthetics.
By drawing on her sensitivity to and love for aesthetics, she finds inspiration in the echoes of pictorialism in her creations. Constantly guided by the interplay of embodied senses, experiences, emotions, and memories, she pushes the boundaries of traditional categories in her work. This exploration of the ways of seeing in a modern era dominated by attention and spectacle, involves shifting perspectives from mere observation to engaging conversations, from static scenes to tangible realities. She challenges the conventional way of perceiving in a world saturated with multiple screens, immersive interfaces, and seamless media, while also reflecting on the implications of existence in a rapidly evolving media landscape.
Film making and photographic staging are often combined to produce atmospheric and poetic visuals that amplify the emotional intensity of Gao’s artistic expression. Gao’s heartfelt dedication establishes her as a noteworthy artist, embarking on a creative path that holds the promise of an exhilarating future journey.
Lovely to meet you. Can you please share a little bit about your background, your path to art, and the reason for choosing to further your studies in London?
Thank you for the opportunity to review my journey with you. I enjoy working with images, and I used to describe myself as a highly sensitive viewfinder. Everything begins with my fascination for visuals and senses.
In addition to my early childhood painting and photography studies in college, my academic background in humanities, particularly anthropology and media studies, has directly influenced my work. Through hidden stories, I delve deeper into the concept of visibility and invisibility. Driven by a pure focus on aesthetics, I strive to create images with a humanistic touch, experimental mindset, and a reflection of the medium.
My decision to study in London was motivated by a desire for new experiences and drawn to the diverse cultural landscapes, bustling art scenes, and leading art environments. It has been a valuable opportunity to engage in interdisciplinary creation with talented individuals from around the world. Throughout my exploration of unseen stories in London, what stood out the most was the care for individuals, diverse support, and love.
Who or what inspires your work?
I would say it is instinct. My sensory perception and embodied experience have inspired my initial practice, to sense, perceive, observe, and touch, from the beginning until now. I cannot stop feeling or thinking with my high sensitivity.
The art of pictorial photography was my first revelation. As a young artist, I admired pioneers such as Eva Watson-Schütze, George H. Seeley, Jane Reece, Claude Cahun, and Sara Moon. The works of Paul Cupido, Constantin Schlachter, Alexander Tkachev, Laura Makabresku, and Masao Yamamoto inspired me early on, particularly in terms of atmosphere, emotion, and conceptual thinking. Additionally, I am deeply drawn to the diverse vitality found in masterpieces by Alex Prager, Neil Krug, visual artist Stephen Mackey, and others beyond those mentioned above.I am fortunate to have encountered their pure artistic aura during my journey.
I was lucky to have grown up as their audience.
What led you to choose photography as your primary medium of work, and what does it symbolise to you?
I had never thought about this question before. Everything happened naturally. If I had to find an answer, it would probably be my obsession with playing with viewfinders, a pure joy.
It is extremely difficult to describe what photography means to me, as it is never easily defined. Currently, my perception is that it is a way to see and interact with the world, exploring various perspectives and possibilities. I feel fortunate to experience both the challenges and joys of expressing myself through photography.
However, I must acknowledge that my current response is truly due to my limitations in media attempts based on my past experiences. I have never viewed photography as a distinct type of media, but rather as part of the dynamic evolution and urgency of media. I do not see any restrictions in the medium, and I will continue to explore various possibilities through experimentation.
Can you explain your process for creating photographs, from the initial idea to the final composition?
I personally believe that living a fulfilling life involves fully engaging in our senses, emotions, and experiences. I cherish the moments that I capture through photography.
Beginning with capturing sensory experiences, I have gradually expanded my understanding and relied on my instincts. Conducting fieldwork has allowed me to delve deeper into various subjects. Additionally, my academic studies in anthropology and media have helped me develop critical thinking skills. I always seek out new perspectives and embrace diversity. Approaching life with genuine emotion, empathy, and universal love is crucial. It is important to maintain sensitivity, intuition, and insight, as well as to hold onto hope regardless of the challenges faced.
I always seek out new perspectives and embrace diversity. Approaching life with genuine emotion, empathy, and universal love is crucial. It is important to maintain sensitivity, intuition, and insight, as well as to hold onto hope regardless of the challenges faced.
Could you elaborate on what inspired you to focus on ‘the visibility and invisibility of aesthetic and cultural diversity’ in your photography?
I perceive things beyond the silence and care about each individual in detail rather than focusing on their appearance or the overarching narrative they present. My study of humanities has expanded my understanding of cultural diversity and universal love. Exploring aesthetics and diversity has led me to discover unheard voices and untold stories.
In addition to being a creator of images, I recognize the importance of communication channels and platforms in today’s visual landscape. As screens and social media platforms shape our interactions and algorithms guide our experiences, the balance between visibility and invisibility becomes increasingly concerning. The potential for monopolies and the extreme value placed on certain content are issues that deeply trouble me, as they are a form of “invisibility” in their own right, influencing my interest in various projects.
Are there any other themes present in your work?
For me, there are no boundaries between images; the categorization is more akin to useful and functional indexes rather than creation itself. The most wonderful masterpieces are always beyond any category.
My initial interest and exploration in fashion photography stemmed from a pursuit of pure aesthetics. Fashion is just one of the paths, albeit a more practical one, towards the art of images.
At times, the spirit and concept of fashion design have influenced my creations, particularly in terms of content and art direction details. Even my past work experience in the fashion industry has inspired me in other aspects, such as image production and reproduction, visual landscape, and mass communication, ultimately leading me to more.
Can you discuss the inspiration behind your series East Coast Ride, Beyond the Borders, and The Night We First Met?
These stories show different aspects compared to my previous work, representing various turning points in my journey.
‘EastCoastRide’ is my first fine art photography project. It captures the landscape through the lens of memory, playing with light and shadow. Starting from familiar places tied to daily experiences, the images explore the geographical and environmental atmosphere with a mix of distance and intimacy, obscurity and detail, and alienation and connection. This project aims to convey emotions and create an aesthetic atmosphere through the perception of memory.
Without any systematic approaches or consciousness, I am constantly affected by the perception of my senses, experiences, emotions, and memories from an innocent heart. As I walk through these specific locations repeatedly, the multitude of memories inspires me to create abstract and universal representations, in a tension between each touch and the infinitely distant realm of imagination. Through this process, I aim to reflect the alienated texture of perception in contemporary contexts, particularly influenced by tension between time and space.
I further explore expressions of fine art photography, focusing on views and scenery. ‘Beyond the Borders’ consists of scenes from around the world captured through a unique fusion lens. Shapes and colors intermingle and overlap to create a visually stunning experience that I hope conveys both aesthetic beauty and a sense of human connection. The images in this project speak for themselves, celebrating the beauty of diversity.
‘The Night We First Met’ is a collection of photos that document my journey into underground ballroom culture in China, specifically the first public queer night in Beijing. By combining on-site documentary events with my own subjective creativity in close-ups and snapshots, I have frozen moments that capture the diversity and vitality of this culture. This series also explores the role of images as anchors for history and archives, as well as the relationship between visibility and invisibility in the public domain.
What new themes or concepts do you plan to explore in your experimental photography in the future?
As noted earlier, I have come to realise that my heart is shielded by glasses in the face of the complexities of reality. On one side, my sensitivity is delicate when confronted with the dark side. In recent years, following my graduation from college, I have endured difficulties in reality that have caused me to spiral into anxiety, to the point where I struggle to find joy in daily life. Each time my heart is broken, I turn to photography as a source of healing. These emotions have sparked a deep interest in contemporary issues such as anxiety, depression, and trauma.
While I find solace and inspiration in photography as a precious form of therapy, I am also drawn to exploring the limitations and vulnerabilities of photography, as well as media and communication, from a broader perspective encompassing philosophy and media studies rather than just focusing on the presentation and content. I naturally gravitate towards examining issues from different angles and prioritizing a fresh perspective.
In addition to photography, you are a filmmaker. How would you describe your style? Can you also tell us about any film projects you are currently working on or will be working on in the future?
Style is a word that carries some risk. Personally, I don’t believe there is anything that can truly be called ‘style’. I am not interested in adhering to a specific style; rather, I aim to discover the most appropriate way to bring various inspirations to life.
To me, everything is about a certain feeling that aligns with my understanding of photography. At this moment, I can only mention the elements that currently capture my attention: sensory experiences, the contrast between different materials and textures, the essence that lies hidden beneath the surface, and those aspects that are difficult to convey through any form of media. In addition to these perceptions driven by embodiment, I am constantly pondering on experiments with media, technology, and the inevitably changing environments.
Currently, I hope to maintain a focus on fine art photography and experimental image projects in order to reconsider and explore my thoughts. The themes and inspiration of filmmaking are also of interest to me. Being exposed to essay and poetic films has had a big impact on my work in fine art moving image projects. However, in recent years, I have been uncertain about my involvement in filmmaking and the ideas that have inspired me.
What are you working on currently, and do you have any upcoming projects you can tell us about?
Thank you for your interest in my upcoming projects! I have been working on the presentation and display of my photography project ‘WindFall’ since I first conceived of it during my time studying in London years ago.
The ordinary secrets and hidden ordinariness in the moments of everyday life inspire me to create these pieces. They are also influenced by the changing ways we perceive time, space, and media in this age of constant distraction and spectacle.
By delving into the details and textures of daily moments, this project aims to immerse and resist the growing sense of time pressure and information overload, blending softness and sharpness.
I am working towards developing this project into a photo book or themed exhibitions. As mentioned earlier, my current focus is on finding alternative ways to display photography in juxtaposition. I aim to create simultaneous stimulation and echoes while avoiding the monotony of traditional formats. I look forward to sharing further developments with you soon!
