"Gentle Tight" is part of Lin Zhipeng's "Boys, Boys, Boys" exhibition. Our journey through this exhibition delves into the untouched realms of vulnerability, desire, and intimacy. Guided by the artist's intuitive perception and unique perspective, viewers are invited to explore these themes through Lin's lens. As we navigate through the array of images, what emerges is a fresh viewpoint on the universal emotions shared by us all. By providing this perspective, Lin Zhipeng offers an exceptional contribution to the narrative of contemporary photography.

Why are we built to desire intimacy? Does intimacy fulfill fundamental human needs, such as the need for love, affection and belonging? Shouldn't we all be more vulnerable to create intimacy? 

"Uncontrollable Rolling" is part of Lin Zhipeng's works that portray a Chinese subculture that defies imposed expectations & stereotypes. His work offers an autobiographical portrayal of a conflicted, hedonistic youth in urban China—playful, provocative, and daring—capturing the spirit of a generation breaking free from tradition.

"Ballet Girls" combines the aesthetics of eroticism, elegance, and surrealism. It captures a conflicted, hedonistic youth in urban China. The playfulness, provocation, and daringness speak to the spirit of a generation breaking free from tradition.

In this rare and thought-provoking image by Lin Zhipeng (aka No. 223), titled Unseen Intimate (2010), two figures are depicted in a moment of surreal intimacy. The subjects, wearing distinct black latex bunny masks with red ears, are positioned close to each other, their bodies partially exposed but their faces hidden behind the masks. This sense of concealment, combined with the playful and erotic nature of the imagery, draws attention to themes of identity, vulnerability, and the tension between exposure and privacy.

The masks, with their exaggerated features and playful design, symbolize the disconnection between external appearances and inner truths, creating an intriguing contrast to the subjects’ partially revealed torsos. The intimacy shared between the figures is palpable, yet the use of the masks obscures their identities, highlighting the tension between connection and anonymity. The image evokes a sense of alienation in the midst of closeness, inviting the viewer to reflect on the complexities of relationships, desire, and the ways in which identity is constructed and hidden.

The accompanying quote from Lin Zhipeng’s work — "Some flowers have found shelter; some larva won’t leave cocoon; some love is vanishing in moves; some hide-and-seek’s turned out to be mismatched..." — captures the essence of this photograph. It speaks to the fleeting, often contradictory nature of love, intimacy, and self-discovery. In Unseen Intimate, the viewer is confronted with the beauty and imperfection of human connection, where emotions and identities shift, and where some parts of the self remain hidden even in moments of vulnerability.

This piece stands out as one of Lin Zhipeng’s more introspective works, exploring the tension between public and private identities, as well as the often elusive nature of intimacy. Through its playful yet poignant imagery, it reflects the artist's ability to capture both the rawness and the complexity of human emotions, making it one of his more rare and notable works.

"The sacred and the profane always coexist. Beneath a filthy surface, there may lie the purest poetry; on the most despicable side, there is often a face of justice. He transfers the contradictions of reality into his images, prompting everything to be reevaluated. In this process, he strives for sincerity: acknowledging faith and ideals while also recognizing anger and the helplessness of that anger."

Since 2008, Gulu has been engaging in photographic creation, with a focus on the human body and grounded in reality. He seeks to break conventional definitions, continuously exploring new possibilities in both form and content. In recent years, building on photography, he has employed a combination of novels, poetry, and photography to restore humanity to individuals objectified by society and life, and to reclaim the poetry that has been worn away.

"N. 88" is part of Gulu’s “WILD PHOTOS,” a collection of nearly 300 Polaroid images taken between 2017 and 2021. Through the unique qualities of Polaroid photography, Gulu incorporates secondary processes like painting, collage, film transfer, and even flame-burning to challenge traditional photographic methods. These works rebel against reality’s constraints, celebrating freedom of expression while embodying the Chinese philosophy of Yin and Yang—the mutual balance of opposing forces, symbolized by the co-existence of water and fire.

Polaroid images, tied to the liquid chemicals in the paper, require immersion in water for film transfer, allowing the water’s characteristics to influence the image. Inspired by this, Gulu introduced fire—symbolizing Yang—to the process, creating a powerful tension between these two elements. This fusion of water and fire, though antagonistic, results in a new form of art, as if the Polaroids themselves have undergone a baptism of sorts.

The Chinese title of "WILDPHOTOS," “歪风,” speaks to the works' defiance of conservative norms, viewed by society as "unhealthy tendencies." Gulu sees his art as a means of letting this "unhealthy trend" thrive, allowing new growth to emerge in the face of societal constraints.

Gulu began his photography journey in 2008, initially exploring contemporary Chinese subcultures, the body as a weapon, and the raw realities of existence, all while rejecting societal labels and definitions. In recent years, his focus has shifted to restoring the identities of individuals “materialized” by society. Using diverse techniques such as photography, text, handwork, and painting, Gulu’s work challenges conventional boundaries. In his solo exhibition, "Suddenly Retreating Desire," he invites young people worldwide to reveal their authentic selves before the camera. By hand-reconstructing the Polaroid images, Gulu blurs the line between photography and painting. For him, the body is not an object, but an embodiment of emotion—nudity, he asserts, represents freedom, unbound by conventional notions of beauty or ugliness.

"N. 204" is part of Gulu’s “WILD PHOTOS,” a collection of nearly 300 Polaroid images taken between 2017 and 2021. Through the unique qualities of Polaroid photography, Gulu incorporates secondary processes like painting, collage, film transfer, and even flame-burning to challenge traditional photographic methods. These works rebel against reality’s constraints, celebrating freedom of expression while embodying the Chinese philosophy of Yin and Yang—the mutual balance of opposing forces, symbolized by the co-existence of water and fire.

Polaroid images, tied to the liquid chemicals in the paper, require immersion in water for film transfer, allowing the water’s characteristics to influence the image. Inspired by this, Gulu introduced fire—symbolizing Yang—to the process, creating a powerful tension between these two elements. This fusion of water and fire, though antagonistic, results in a new form of art, as if the Polaroids themselves have undergone a baptism of sorts.

The Chinese title of "WILDPHOTOS," “歪风,” speaks to the works' defiance of conservative norms, viewed by society as "unhealthy tendencies." Gulu sees his art as a means of letting this "unhealthy trend" thrive, allowing new growth to emerge in the face of societal constraints.

WILDPHOTOS is part of Gulu’s “WILD PHOTOS,” a collection of nearly 300 Polaroid images taken between 2017 and 2021. Through the unique qualities of Polaroid photography, Gulu incorporates secondary processes like painting, collage, film transfer, and even flame-burning to challenge traditional photographic methods. These works rebel against reality’s constraints, celebrating freedom of expression while embodying the Chinese philosophy of Yin and Yang—the mutual balance of opposing forces, symbolized by the co-existence of water and fire.

Polaroid images, tied to the liquid chemicals in the paper, require immersion in water for film transfer, allowing the water’s characteristics to influence the image. Inspired by this, Gulu introduced fire—symbolizing Yang—to the process, creating a powerful tension between these two elements. This fusion of water and fire, though antagonistic, results in a new form of art, as if the Polaroids themselves have undergone a baptism of sorts.

The Chinese title of "WILD PHOTOS," “歪风,” speaks to the works' defiance of conservative norms, viewed by society as "unhealthy tendencies." Gulu sees his art as a means of letting this "unhealthy trend" thrive, allowing new growth to emerge in the face of societal constraints.

"No. 138" is part of Gulu’s “WILD PHOTOS,” a collection of nearly 300 Polaroid images taken between 2017 and 2021. Through the unique qualities of Polaroid photography, Gulu incorporates secondary processes like painting, collage, film transfer, and even flame-burning to challenge traditional photographic methods. These works rebel against reality’s constraints, celebrating freedom of expression while embodying the Chinese philosophy of Yin and Yang—the mutual balance of opposing forces, symbolized by the co-existence of water and fire.

Polaroid images, tied to the liquid chemicals in the paper, require immersion in water for film transfer, allowing the water’s characteristics to influence the image. Inspired by this, Gulu introduced fire—symbolizing Yang—to the process, creating a powerful tension between these two elements. This fusion of water and fire, though antagonistic, results in a new form of art, as if the Polaroids themselves have undergone a baptism of sorts.

The Chinese title of "WILDPHOTOS," “歪风,” speaks to the works' defiance of conservative norms, viewed by society as "unhealthy tendencies." Gulu sees his art as a means of letting this "unhealthy trend" thrive, allowing new growth to emerge in the face of societal constraints.

This photograph features Luo Juning
, a photographer, restaurant manager, and a Chinese living in Paris.

"From the age of 22 to 40, the most important 18 years of my life have been spent in Paris. To me, Paris is the home I hurry back to, while going elsewhere is what I call a vacation. In 2020, my son was born in Paris, and I named him "Kong" (空). At the age of forty, all my insights into life are encapsulated in this word. I am a sensitive person, and I have felt countless times the existential crisis of “life being uncertain and unpredictable from day to day,” often questioning my own emotions. "Do I still love? Do I still feel anything?" Whether toward myself, things, or my partner. Stephen Covey's answer enlightened me: "To love. Love is a verb, not a state. Love is the fruit of actions." This world is inherently meaningless, which paradoxically gives us the freedom to choose infinitely. There is no "must"; everything is chosen by me. Empty yourself, sit, and watch the tides rise and fall, without needing to rise and fall with them. That is all."

This piece is part of Luo Yang's Girls series, a well-known body of work that has been repeatedly published and exhibited. The photograph captures an intimate, candid moment in a private space, blending the personal with the universal. The subject, a woman in a relaxed domestic environment, is depicted in the nude, walking her cat with a leash. The casualness of the scene is heightened by the cluttered surroundings, which contrast with the subject's calm demeanor. The photograph invites the viewer to reflect on the complexities of femininity, personal identity, and the mundane realities of life.

Luo Yang’s work often explores themes of youth, self-expression, and intimacy, particularly focusing on the lives of young women in China. This image, like others in the Girls series, addresses the tension between personal vulnerability and the societal gaze, offering a raw, unfiltered look at women in their private moments. The photograph’s unposed nature and the naturalistic portrayal of the subject create a sense of authenticity and intimacy, inviting the viewer into a personal world, free from the constraints of external judgment.

The use of natural light, the relaxed body language, and the disorganized background contribute to a sense of spontaneity and realism. Luo Yang’s work challenges traditional portrayals of women in photography, instead presenting them as active, complex individuals navigating their own environments and identities. This piece is a testament to the artist's ongoing exploration of contemporary Chinese youth culture and the evolving roles of women within it.

"Leina" is part of Luo Yang's GIRLS series. It belongs to a part of contemporary China that is rarely taken note of in the West. Her portraits depict a burgeoning Chinese youth culture that defies imposed expectations and stereotypes – GIRLS are badass and self-aware with a supreme sense of coolness, yet also insecure, vulnerable, and torn. Luo’s images are bold and up-front, intimate and sensitive at the same time. Above all, her work is a testament to her subjects’ individuality. It explores themes of youth and femininity while challenging traditional beliefs about women in Chinese society.

This photograph, part of Luo Yang's DIASPORA BIRDS series, captures MeiMei, a Paris-based model with Chinese and Canadian roots, in an intimate, eclectic space that reflects her unique cultural identity and creative spirit. The series delves into themes of belonging and cultural duality, which resonate deeply with MeiMei's personal journey.

This photograph captures MeiMei, a Paris-based model with Chinese and Canadian roots, in an intimate, eclectic space that reflects her unique cultural identity and creative spirit.

MeiMei’s upbringing was shaped by her Chinese heritage, instilling values of family respect and responsibility. Raised with her younger sister, she grew up speaking Mandarin fluently, influenced by her mother’s strong presence and creativity. Her mother, a source of artistic inspiration, passed on her passion for fashion and music, while also teaching MeiMei resilience and determination.

Starting her modeling career in 2010, MeiMei faced significant challenges as an Asian model in Europe when diversity in fashion was still evolving. Initially told she didn’t fit the “Western” ideal, she later encountered the opposite critique of not being “Asian enough.” Undeterred, her persistence and multicultural fluency allowed her to navigate these challenges, establishing a career across China, Korea, and Tokyo.

This image, set in a vibrant, nostalgic interior, mirrors MeiMei’s journey of self-discovery and cultural connection. It tells a story of resilience, belonging, and the richness of multicultural identity, celebrating the strength found in bridging diverse worlds.