This photograph exemplifies Feng Li's distinctive ability to capture the absurdity and disjointed nature of contemporary life. A figure wrapped in a metallic silver coat, partially obscured by unruly hair, descends rocky steps in a dim, cave-like environment. The surreal and theatrical staging is heightened by the presence of a vividly patterned snake entwined around the subject's legs, its striking orange and black scales standing in sharp contrast to the muted tones of the background.

Feng Li’s hallmark lies in his exploration of everyday absurdity and the unexpected beauty within the mundane. In this piece, the juxtaposition of the snake—a symbol of both danger and transformation—and the synthetic, oversized garment evokes a tension between natural and artificial, reality and fabrication. The bright red socks introduce a playful yet unsettling element, drawing attention to the deliberate stylization of the scene.

Typical of Feng Li’s work, this image captures an ambiguous moment that teeters between humor and unease, inviting viewers to interpret its narrative significance. The photograph resonates with themes of disconnection and alienation, emblematic of his broader critique of modern society. Here, the anonymous figure and the surreal setting serve as metaphors for humanity’s complex relationship with nature, artifice, and identity.

Through his hyperreal aesthetic, Feng Li provokes a reflection on the contradictions of contemporary existence—an interplay of vulnerability, beauty, and chaos. This piece encapsulates his unique vision, offering both a striking visual impact and a thought-provoking commentary on the absurdity of modern life.

This piece by Feng Li is a remarkable work from his renowned series White Night, showcasing his distinctive observation of contemporary society through striking visual impact and profound symbolism. The image depicts a man carrying a blooming artificial peach tree. Illuminated by a bright flash in the night, the flowers and figure are brought into sharp focus, while the background fades into darkness. This contrast intensifies the work's theatricality and sense of unreality.

Feng Li employs his signature style, juxtaposing absurdity and reality. The artificial peach tree symbolizes constructed nature and false prosperity, while also serving as a metaphor for desire. The man’s strained posture hints at the unavoidable absurdity and fatigue of humanity's pursuit of “ideal” or “beauty.” This deliberately staged "theatricality" reveals how individuals in society often disregard their authentic needs to conform to collective aspirations.

The essence of the White Night series lies in its use of flash photography to confront societal facades, exposing the absurdity and contradictions within seemingly ordinary scenes. This particular work highlights Feng Li’s keen insight into the relationship between people and objects: the artificial peach tree is fabricated and imposed, while the man becomes an unwitting participant in this constructed illusion. The combination of visual humor and profound social critique gives the work a powerful narrative tension.

This piece is not just a visual novelty but a critical examination of the relationship between “falsehood” and “reality” in modern society. It invites viewers to reconsider the world we have constructed—how much of it is natural, and how much is a façade of human fabrication.

This photograph by Feng Li embodies his signature style, blending absurdity with surreal visual storytelling. The image presents a figure dressed in black, their face obscured, leaning against a stone structure in what appears to be a garden or park. The central focus of the composition is the oversized, vividly red spotted mushroom held by the figure, its exaggerated size and vibrant color creating a stark and whimsical contrast against the natural greenery and muted tones of the background.

The use of a harsh flash intensifies the surreal quality of the scene, illuminating the mushroom's glossy texture and the folds of the figure’s attire while casting deep shadows that add to the image's theatricality. The figure’s facelessness evokes anonymity and detachment, emphasizing themes of identity and absurdity that are recurrent in Feng Li’s work.

The setting—a seemingly mundane outdoor space—takes on a dreamlike quality, with the mushroom acting as a fantastical element that disrupts the ordinary. This juxtaposition invites viewers to question the boundaries between reality and fiction, as well as the performative aspects of daily life.

Through this image, Feng Li critiques the disjointedness and contradictions of modern existence, using humor and the unexpected to create a dialogue about individuality, societal norms, and the surreal nature of contemporary culture. The work is both playful and thought-provoking, challenging viewers to confront the absurdity hidden within the everyday.

This work by Feng Li is a striking example of his unique style, featuring his signature use of flash photography and a strong abstract quality that sets it apart as a highly creative piece. The image centers on two figures entwined with an inflatable aloe plant, their faces obscured in an interplay of shadows and exaggerated light. The bright, almost artificial colors of the scene—vivid green, yellow, and blue—lend the composition a surreal, dreamlike atmosphere.

The aloe plant, commonly associated with healing and vitality, is transformed here into an ambiguous, otherworldly entity. The oversized leaves envelop the figures, blurring the boundary between the human and the artificial. This tension between the organic and synthetic echoes Feng Li’s broader critique of contemporary life, where reality is often mediated through constructs and façades.

The juxtaposition of the figures’ modern attire with the oversized, abstract aloe plant creates a visual dialogue that is both playful and unsettling. The dramatic lighting isolates the subjects from their environment, heightening the sense of theatricality and abstraction. This image invites viewers to interpret its layers of meaning, exploring themes of identity, nature, and the surreal dimensions of everyday existence.

Feng Li’s ability to blend humor, abstraction, and critique shines in this piece, which pushes the boundaries of conventional photography into the realm of visual poetry. It’s a vivid exploration of human connection—or disconnection—with the world around us, filtered through his inimitable lens.

This is photographer Feng Li (generally known as “free pig” in China) ’s first monograph, with a selection of his color works shot from 2005 to 2017. The title comes from a sentence in the Holy Bible, “By day they meet with darkness, and grope at noon as in the night.”

Statement by the artist:
"I don’t know whether they are photographic works, but they do present another sides of our reality. I can't explain them specifically, as I can't understand the world. The only thing I can tell is my questions. Most of the time I am the person who asks, and answers a question in front of me by asking a new one. There is always a question mark following the answers. I can ask at any time with my camera. The seemingly calm world is torn by sharp flash, and deep shadows are left in the souls. The night outside my window is white as the day when the passengers walk in a hurry. This is my world, of white night."
Feng Li, born in 1971 in Chengdu, China, is a photographer with a keen eye for finding the extraordinary in the ordinary. He uncovers the surreal aspects of reality, presenting everyday life scenes in unconventional ways. Since 2005, Feng Li has been continuously working on his unique series "White Night." Roaming the city, he intuitively observes familiar people, objects, and landscapes, using flash photography to illuminate those moments that seem unbelievable to us. These flash-cut scenes are transformed into something eerie and unexpected, frozen in time.

This is photographer Feng Li (generally known as “free pig” in China) ’s first monograph, with a selection of his color works shot from 2005 to 2017. The title comes from a sentence in the Holy Bible, “By day they meet with darkness, and grope at noon as in the night.”

Statement by the artist:
"I don’t know whether they are photographic works, but they do present another sides of our reality. I can't explain them specifically, as I can't understand the world. The only thing I can tell is my questions. Most of the time I am the person who asks, and answers a question in front of me by asking a new one. There is always a question mark following the answers. I can ask at any time with my camera. The seemingly calm world is torn by sharp flash, and deep shadows are left in the souls. The night outside my window is white as the day when the passengers walk in a hurry. This is my world, of white night."
Feng Li, born in 1971 in Chengdu, China, is a photographer with a keen eye for finding the extraordinary in the ordinary. He uncovers the surreal aspects of reality, presenting everyday life scenes in unconventional ways. Since 2005, Feng Li has been continuously working on his unique series "White Night." Roaming the city, he intuitively observes familiar people, objects, and landscapes, using flash photography to illuminate those moments that seem unbelievable to us. These flash-cut scenes are transformed into something eerie and unexpected, frozen in time.

In this work, Feng Li employs his signature flash photography style to vividly highlight the facial expressions and clothing details of the subjects, while the blurred background draws the viewer's focus entirely to the central figures. This strong contrast, combined with a snapshot-like composition, gives the image a unique aesthetic that balances between reality and theatricality.

The photograph can be interpreted as a metaphor for collective dance culture or the communal participation in social events, emphasizing human interaction and the sense of ritual and group identity brought about by such activities. The retro-style clothing and postures evoke a nostalgic sentiment for a bygone era, adding a timeless appeal to the work. With humor and a touch of absurdity, Feng Li captures the beauty and whimsy of this moment, prompting viewers to reflect on the cultural and social significance hidden behind the scene.

Feng Li captures the dynamic scene of a foam party in this work. At the center of the image is a woman dressed in blue and white, resembling a character from a fairytale. She smiles with her arms open wide, as if embracing the flying foam around her. Her hair and clothes are covered in foam, creating an effect that is both whimsical and humorous. In the foreground, a young girl in a blue dress crawls on the ground, her face covered in foam, embodying a pure and playful innocence. The background features other participants and scattered foam, adding to the lively yet slightly chaotic atmosphere.

Feng Li uses his signature flash photography to exaggerate the details of the figures and foam, heightening the theatrical and dreamlike quality of the scene. This “moment of capture” makes the work feel realistic while imbuing it with a surreal aura. The foam, a fleeting and weightless element, symbolizes the transient nature of joy and evokes notions of illusion and uncertainty. The work not only conveys a fairytale-like atmosphere but also reflects on the ephemeral nature of human indulgence in entertainment and fleeting happiness.

This photograph by Feng Li presents a surreal and metaphorical scene. At the center of the image, a woman dressed in a vivid red sweater curls up inside a transparent plastic bubble, as if isolated in a miniature world detached from the outside. Outside the bubble, another person uses a tool to create iridescent soap bubbles. The vibrant colors of the bubbles reflect sunlight, forming a stark contrast with the soft natural background.

Feng Li sharply separates the subject from the surrounding environment, imparting a dramatic tension to the composition. The bubble and soap bubbles symbolize human fragility and isolation, possibly hinting at the distance and alienation between individuals in modern society. The woman's expression conveys a mix of calmness and resignation, while the dreamy quality of the surrounding bubbles creates a paradoxical poetic atmosphere.

This work not only captivates viewers with its visual impact but also, through its skillful interplay of reality and fantasy, provokes contemplation on themes of loneliness, isolation, and the complexities of human relationships.

Every day in Tokyo, Feng Li snapped pictures like a wild beast, leaving everyone exhausted. After each day's shoot, we immediately headed to the nearby 7-Eleven to print photos (once, due to printing too many, we actually ran out of photo paper at the convenience store). He spent nearly a month in Tokyo capturing images. Once the shooting was complete, the decision was made to promptly select photos for this book, leading to the publication of "Tokyo·Feng Li.""Photos have dual natures—surface and interior. Although mentioning the 'surface' in this context might carry a somewhat negative connotation, it doesn't apply to Feng Li's photography. The highly unified sense of flatness and vulnerability on the 'surface' precisely embodies the depth of his photographic works."

This photograph by Feng Li encapsulates the artist's signature interplay of surrealism and critique of contemporary life. The image features a figure encased in a transparent inflatable structure, suspended in a seemingly weightless state. The person inside, appearing to be asleep or in a state of repose, is surrounded by a web of taut cords and suction cups that reinforce the structure's confinement. The translucent material of the inflatable, combined with the soft, diffused lighting, creates a dreamlike, ethereal effect.

The setting is ambiguous, with hints of natural elements outside the structure, suggesting a juxtaposition between the artificial and the organic. The figure's relaxed posture contrasts with the enclosure's mechanical rigidity, evoking themes of isolation and detachment in an overly mediated, constructed reality.

This work can be read as a metaphor for the alienation of individuals in modern society, where boundaries—both physical and psychological—separate people from authentic connections and experiences. The inflatable structure, with its suffocating transparency, serves as a visual representation of both containment and exposure, highlighting the paradox of seeking solace in an environment that simultaneously isolates and protects.

Feng Li's use of vibrant colors and exaggerated composition adds an additional layer of absurdity to the scene, encouraging viewers to question the interplay between personal freedom and societal constraints. The photograph invites reflection on the fragility of human connection in a world increasingly dominated by artificial environments and curated experiences.

This photograph by Feng Li captures a child immersed in the jubilant act of spinning a sparkler, creating a brilliant arc of light that contrasts sharply with the dim background. The child, dressed in a plaid shirt, polka-dot pants, and striking red boots, is frozen mid-motion, their face obscured as they bend backward with an almost theatrical intensity. The sparks trace a circular motion, producing a vibrant, fleeting moment of energy amidst the otherwise muted surroundings.

Feng Li’s signature use of a stark flash brings out the vivid colors and textures, amplifying the surreal quality of the image. The juxtaposition of the child’s playful abandon with the slightly eerie, isolating environment suggests deeper themes of innocence, fleeting joy, and the dissonance of human connection in contemporary life.

The work encapsulates Feng Li’s talent for finding the extraordinary within the ordinary. While the act of playing with a sparkler is common, his framing and timing elevate the scene into a visual metaphor—perhaps a commentary on the ephemeral nature of happiness and the layers of absurdity and spontaneity that define modern existence.

In this photograph by Feng Li, the central figure—a man dressed in a partially unzipped rabbit costume—stands with his back to the camera, leaning on a wooden crutch in the middle of a busy urban plaza. The juxtaposition of the playful, childlike costume with the man's exposed back and crutch introduces a tension between humor and vulnerability. The fluffy tail and floppy ears of the rabbit outfit contrast sharply with the stark physicality of the crutch and the casual exposure of the man's body, suggesting themes of fragility and resilience.

The surrounding environment—a modern cityscape with glass skyscrapers and pedestrians going about their day—provides a backdrop of disconnection. The people around the figure seem indifferent, absorbed in their own worlds, reinforcing a sense of alienation. A woman in the background looks at her phone, while others walk past without acknowledging the surreal presence of the man in the rabbit costume.

Feng Li’s use of stark, bright lighting and precise framing heightens the absurdity of the scene. The image invites the viewer to reflect on the incongruities of modern urban life: the coexistence of playfulness and pain, visibility and invisibility, and the ways in which individuality is both highlighted and overlooked in public spaces. The photograph captures a fleeting moment of raw humanity amidst the monotony of the everyday, emblematic of Feng Li’s unique ability to reveal the surreal within the mundane.
Statement by the artist:
"I don’t know whether they are photographic works, but they do present another sides of our reality. I can't explain them specifically, as I can't understand the world. The only thing I can tell is my questions. Most of the time I am the person who asks, and answers a question in front of me by asking a new one. There is always a question mark following the answers. I can ask at any time with my camera. The seemingly calm world is torn by sharp flash, and deep shadows are left in the souls. The night outside my window is white as the day when the passengers walk in a hurry. This is my world, of white night."
Feng Li, born in 1971 in Chengdu, China, is a photographer with a keen eye for finding the extraordinary in the ordinary. He uncovers the surreal aspects of reality, presenting everyday life scenes in unconventional ways. Since 2005, Feng Li has been continuously working on his unique series "White Night." Roaming the city, he intuitively observes familiar people, objects, and landscapes, using flash photography to illuminate those moments that seem unbelievable to us. These flash-cut scenes are transformed into something eerie and unexpected, frozen in time.

Feng Li’s work captures a surreal and peculiar moment through dramatic lighting and composition. In the image, two women dressed in vibrant clothing stand with their backs to the viewer. One wears a yellow coat, while the other is in a blue dress. Their postures and movements appear hurried or hesitant. In the background, a towering red inflatable structure rises, its abstract form and golden details gleaming under the flash, creating an exaggerated and slightly absurd visual impact.

This piece carries strong symbolic meaning and narrative potential. The red inflatable structure evokes an abstract creature or a mysterious ceremonial decoration, exuding an enigmatic aura. The presence of the two women introduces a sense of interaction between humans and the inanimate, as though they are exploring or participating in a secret ritual.

In this work, Feng Li employs vivid color contrasts and dynamic composition to convey a visual experience that intertwines reality and the surreal. The piece invites viewers to question the relationship between the figures and the giant structure: Are they part of a larger narrative, or is this an isolated moment of interaction? Does the scene reflect the detachment and engagement between humans and their environment or material world in contemporary society? Overall, the work uses humor and absurdity to express complex emotions and social metaphors, showcasing Feng Li’s keen eye for uncovering hidden beauty in everyday scenarios.

This photograph by Feng Li captures a middle-aged woman standing stoically in front of an illuminated angel-wing installation at night. The artificial wings and a glowing halo create a striking contrast with the woman’s heavy black fur coat and practical demeanor. The scene is set outdoors, amidst an unkempt, earthy environment, with scattered green tarps and dry foliage at her feet, which add a surreal and almost contradictory element to the composition.

The juxtaposition between the celestial symbolism of the wings and halo and the mundane, grounded nature of the woman herself creates an intriguing tension. The angelic imagery is rendered artificial and commercial, yet it transforms the woman into an unwitting participant in a staged narrative. Her expression, void of awe or reverence, further emphasizes the disconnection between the manufactured fantasy and the stark realities of her presence.

Feng Li’s signature use of harsh, direct flash heightens the visual absurdity, exposing every detail with raw clarity and reinforcing the surreal atmosphere of the scene. The work subtly critiques the commodification of spiritual and aspirational symbols in contemporary culture, turning a moment of supposed transcendence into a portrait of detachment and irony. The viewer is left to question the relationship between the ordinary and the extraordinary, and how meaning is both created and dissolved in such constructed settings.

This photograph by Feng Li exemplifies his signature approach to capturing the absurd and playful within the everyday. A young individual wears a surreal mask made of interconnected plastic hands painted with bright red fingernails, obscuring their face but allowing glimpses of their braces and joyful expression. The vivid yellow of the subject's sleeve contrasts sharply with the neutral background, amplifying the image's visual tension and intensity.

The mask, a strikingly artificial construct, serves as a metaphor for themes of identity, concealment, and performance in modern society. By distorting the human face with a playful yet unsettling object, Feng Li invites the viewer to question how individuals navigate their roles in a world increasingly mediated by appearances and superficial symbols.

The photograph’s hyperreal aesthetic, amplified by the use of flash and stark lighting, evokes a sense of humor tinged with discomfort. This duality—between lightheartedness and deeper critique—reflects Feng Li’s broader commentary on the alienation and absurdity of contemporary life. The mask, simultaneously humorous and grotesque, becomes a vessel for exploring identity, individuality, and the human desire for expression amidst societal expectations.

Through this piece, Feng Li blurs the boundaries between the ordinary and the extraordinary, crafting a visual language that is as thought-provoking as it is visually compelling.

This photograph by Feng Li captures a young man standing on a dimly lit staircase, partially obscured by a thick cloud of vapor emanating from his vape device. Dressed casually in a white t-shirt and loose blue pants, the subject leans nonchalantly against the railing, embodying a relaxed, almost indifferent posture. The dense vapor engulfs his face, erasing his identity and turning him into an anonymous figure, a ghostly silhouette lost in the haze.

The stark architectural backdrop, with its angular staircases and sharp contrasts of light and shadow, adds a sense of rigidity to the otherwise ephemeral nature of the vapor. The outdoor greenery faintly visible through the slats of the staircase introduces a subtle tension between natural elements and the synthetic act of vaping. The harsh flash used in Feng Li's signature style further accentuates the textures and tones, giving the image a surreal, hyper-real quality.

This work critiques the performative aspects of contemporary identity, where individuals often blur their presence with fleeting trends or symbols of modernity, such as vaping. The obscured face can also be interpreted as a metaphor for the disconnection and anonymity pervasive in modern urban life. It is simultaneously a snapshot of youth culture and a contemplative reflection on the impermanence of self-representation in a world consumed by fleeting aesthetics.

This striking photograph by Feng Li captures a surreal and dazzling moment in an urban setting. Four young women, dressed in reflective mirror-tile bodysuits, stand with their backs to the camera. The shimmering tiles on their outfits refract the surrounding light, creating a fragmented, almost kaleidoscopic effect. Their outfits resemble disco balls, casting light and shadow in an interplay that contrasts sharply with the muted tones of the high-rise apartment buildings in the background.

The setting is a public space, where these women—identified as supermarket promoters—are likely part of a marketing event. Despite the shiny and eye-catching costumes, the composition feels detached and quiet. The choice to photograph them from behind, without revealing their faces, adds a sense of anonymity and uniformity, reflecting themes of individuality versus conformity.

Feng Li’s use of artificial lighting highlights the surreal juxtaposition between the performers' sparkling outfits and the mundane urban environment. This creates a dissonance, emphasizing the often absurd intersection of commerce, labor, and spectacle in modern society. The reflective tiles can be seen as a metaphor for the way these women’s individuality is consumed and mirrored by the commodified space they inhabit.

Through this image, Feng Li critiques the artificiality and superficiality of promotional work while capturing a poignant and thought-provoking slice of contemporary urban life. It invites the viewer to question the layers of spectacle, labor, and identity that are at play in such everyday performances.

This photograph by Feng Li is a vivid, surreal, and absurd tableau that exemplifies his ability to capture the strange and disjointed realities of modern life. Featured in The Guardian, this image gained critical acclaim for its visual commentary on consumer culture and the performative nature of identity.

The scene depicts two young men seated in a car, filled to the brim with pastel-colored plastic balls, evoking the playful aesthetic of a children's ball pit. One wears novelty sunglasses adorned with oversized dollar signs, a clear nod to the commodification and materialism of contemporary society, while the other dons similarly absurd yellow-framed glasses, his expression equally bewildered. Their exaggerated gestures and expressions create a sense of theatricality, amplifying the absurdity of the situation.

The confined space of the car, coupled with the overwhelming volume of plastic balls, evokes feelings of entrapment and suffocation, reflecting the weight of societal expectations and the artificial pursuit of joy. The bright, garish lighting emphasizes the hyperreality of the scene, turning a mundane car interior into a bizarre stage where these characters act out a commentary on modern consumerist excess.

Critics in The Guardian have noted how this work encapsulates Feng Li's unique approach to storytelling, blending humor, critique, and visual overload to confront the viewer with the contradictions of contemporary culture. The chaotic yet meticulously composed image invites reflection on the superficial symbols of wealth and happiness, challenging us to question their authenticity and impact on individual identity.

This photograph by Feng Li is a striking juxtaposition of nature, humanity, and artifice, epitomizing his signature style of blending surrealism with the mundane. The central figure, a shirtless young man, reclines amidst a sea of blooming white flowers, his body entwined with a painted tiger sculpture. The tiger, a lifeless replica, bares its teeth in a frozen snarl, evoking a sense of both ferocity and absurdity.

The setting, lush with natural greenery, is interrupted by the artificiality of the tiger sculpture and the vibrant man-made structures in the background. This interplay between the natural and the synthetic mirrors modern society's complex relationship with authenticity and constructed realities. The man’s calm demeanor contrasts with the tiger's exaggerated aggression, creating a visual tension that is at once humorous and unsettling.

Feng Li’s characteristic use of vivid color and meticulous composition draws the viewer’s attention to the contradictions within the frame. The scene feels both staged and spontaneous, evoking questions about identity, connection, and the role of artificiality in our lives. This work is a reflection on the interplay of humanity, nature, and the fabricated symbols we use to represent power and emotion, inviting viewers to explore the layers of meaning within the absurdity.