Gulangyu Series


I want to create a sense of journey both through memory in contemporary way rather than just using the psychical collage. Inspired by Guy Debord. As the study of the specific effects of geographical environment, consciously organized or not, on the emotions and behaviour of individuals. The exploration of urban environment psychogeography. My understanding of the psychogeography in a mental stage is about the fragment memory. I am mainly focused on “screen memory” by Sigmund Freud. Screen memory (Disported Memory) is the Freudian term for a recollection that masks deeper, psychologically significant memories. According to Freud’s theory, memories overlay and obscure each other. His essay on screen memory began with a puzzle about beginnings. “People often deal with fragments memories that have stayed with these individual patients from their earliest childhood years. It is recalls in absence way. “Screen memories do not emerge into consciousness at the time of recall”- Sigmund Freud (1899).

 Within the fast-changing environment in China, the unique traditional culture of China occupies a pivotal position in the world. The Chinese traditional paintings form is the treasure of Chinese traditional culture. Chinese traditional painting has influenced in the Chinese photography. The time when photography firstly been used in China. Most of photos was taken by Western photographer. The understanding and explanation of photography by Chinese was to explore the use of traditional Chinese painting forms to idyllic scenery photography, established the unique characteristics of the traditional Chinese style photography. From conception to creation, every step of pictorial photograph that is under the effects of Chinese traditional painting style reflects the cultural connotation of the artist and the inheritance of the Chinese traditional aesthetic idea from the 1900s. Although this kind of cultural connotation and aesthetic idea are influenced by the traditional culture, they have different forms of expression in each period and stage, which reflects the epochal character of the photographic creation.


The development process of pictorial photography is full of inclusiveness, persistence to tradition and inclusiveness to culture. The artist's self-confidence in the traditional Chinese culture is reflected either in the pictorial photography that pays attention to the artistic conception image or that is in the more diverse forms of creation. With cultural self-confidence and cultural self-consciousness, the artist, while absorbing the foreign excellent culture, promotes the national excellent culture through artistic creation, and combines the traditional Chinese painting form to present the photography art with national characteristics. Pictorial photography fully embodies the collision and exchange between traditional Chinese culture and photography, and the strong national colour in the pictorial photography works deeply reflect the aesthetic charm of traditional Chinese painting form and the connotation of traditional Chinese culture. For example, Lang’s merging of the modern art of photography with the aesthetic of Chinese ink paintings.