10 Questions with Charles Chao Wang

Al-Tiba9 Art Magazine ISSUE17 | INNER COVER Artist

Charles Chao Wang is a London-based photographer as well as an artist who graduated from the University of the Arts London. His work draws from his own experiences and memories and is influenced by a variety of fields, including sociology, philosophy, and psychology, in which concerns about social inequality and abuse of power can be seen. He offers a powerful social commentary, as well as an opportunity for spiritual healing, enabling the viewer and the artist himself to reflect on and respond to societal challenges.

Embodying the essence of Zen philosophy, Charles's work blends elements of nature with social issues by capturing the serenity and harmony found in nature through his lens. This fusion not only resembles Zen meditation in form but also presents a profound dialogue in thought, emphasizing the close connection between man and nature.

@charleswangggg

Away Way | Project Statement

Central to the essence of "Tao" are the principles of "following nature" and "the unity of heaven and man." These core tenets find resonance within the thematic framework of the project, as articulated by Eckhart Tolly. Coming of age during a period characterized by rapid urbanization and a restrictive political environment in China, the artist's enduring aspiration has been to seek an avenue of "escape" and cultivate a utopian realm within their psyche. 

Employing Taoist principles and harnessing the methodologies of meditation and walking meditation as guiding forces, the artist employs photography, particularly within the realm of fashion photography, as the principal medium for delving into their inner reservoir of memories and yearnings. Through this creative process, they endeavor to construct a serene and childlike utopia, emblematic of their long-held dreams. 

In the broader context of contemporary Chinese society, this artistic endeavor assumes the role of countering the forces of control and constraint exerted upon its denizens. It is the artist's intention that this project, in its entirety, serves as a wellspring of resilience and inspiration, enabling the audience to liberate themselves from the grasp of powerful totalitarianism and embark on a journey of self-discovery and comprehension. 

For the artist, this project signifies both a profound voyage towards inner healing and a process of dismantling and reconstructing his inner framework, seeking to bring forth a harmonious order from the depths of his soul. 

AL-TIBA9 ART MAGAZINE ISSUE17

INTERVIEW

Let's start from the basics. Could you please introduce yourself to our readers? Who is Charles, and how did you become the artist you are today? 

Hello, I'm Charles. I'm a photographic artist, and I'd like to give a brief introduction to my photographic journey.
I first got into photography in 2014 as a wedding photographer and was fascinated by the ability of photography to capture moments that are already precious to the subject. However, I was frustrated by the overly standardized process required to produce commercially viable images. This undermined the authenticity of the event and made me rethink my understanding of the industry. In 2015, I began working as a studio assistant for a Chinese photographer, and over the past three years, I have developed strong technical skills. However, I also observed the homogenization and derivativeness of much Chinese photography. I felt marginalized when I tried to shoot from my own creative perspective. This experience, coupled with the fact that the Chinese education system does not encourage personal expression, forced me to pursue postgraduate studies abroad. In 2019, I went to the University of the Arts London to study for a Master in Photography, where the diversity and encouragement of freedom of expression in London have largely helped me to develop my current photographic style.

What experiences and influences helped you develop your practice and your artistic research?

My early works were influenced by portrait photography, mainly showing the face of an individual. During that period, I was obsessed with capturing what was visible in front of the camera, but in the process of long-term creation, I realized that these works could not convey all the contents I wanted to express to the audiences. After this, I was exposed to the works and ideas of Dadaism and Existentialism, and I began to experiment with the use of photography to show the invisible and to give the individuals in the images more referentiality. While living and studying in London, I saw many excellent art exhibitions and read a lot of books on contemporary art, sociology, philosophy, and psychology in the library, which helped me a lot in creating my works and researching the themes of my works.    

Photography is central to your practice. Why did you choose this medium? And how does it allow you to explore and communicate the themes you are passionate about?

I chose photography as my main creative medium mainly because of its ability to combine with other media categories in contemporary art. Over the past 20-22 years, I have experimented with mediums other than photography, such as performance art and installation art, and in the end, I have found that the possibilities and freedom contained in contemporary photographic art are the most fascinating to me.
Themes that I am passionate about, such as power dynamics, personal freedom, and identity, are powerfully expressed through photography. Each image is a meeting point between my inner world and external reality.
Photography, for me, is not only a way to record the immediate reality but also a way to express unseen inner thoughts.Through photography, I hope that through my work, the viewer can empathize with the characters in my images, leading them to think about their own individuality and the social environment. For me, photography is not only an expression of art but also a way of self-exploration and healing.   

Looking at your background, growing up in China and later living in London, how has it shaped your perspectives on power dynamics, freedom, and individual identity as expressed in your art? 

Growing up in China has given me insight into how traditional culture and social norms profoundly affect an individual's psyche and personal identity. At that time, I often felt the expectations and limitations of my surroundings and experienced the conflict between my personal vision and social pressure. When I moved to London, I came into contact with more open and diverse cultures, which allowed me to freely express myself and explore my inner self. It was against this background of cultural conflict that I began to think about personal identity and people's right to freely express their thoughts, and my art creations gradually generated thoughts about power relations.
Another important point is that during my life experience in China, I have long been troubled by the homogenization of the whole society and the rejection of individual independent thoughts by the group, whereas when I lived and created my artworks in London, I felt an unprecedented degree of freedom as well as the understanding and support from others. This has been crucial to my creativity and growth, and the experience of living in London has nourished me and provided me with the 'soil' in which to grow.

Your projects are deeply rooted in personal experiences and broader sociocultural issues. How do you navigate theintersection of the personal and the political in your work?

In my work, personal experiences and sociocultural issues are often one and the same. I believe that personal stories provide a profound focus on larger social phenomena. For example, in the project Allow To Be, I focus on the challenges faced by women in Chinese society; I visited and researched some women's own experiences and stories and tried to express these individual experiences under the control of a totalitarian society through photography. This work is not only my voice for Chinese women in distress but also my reflection on the problems of social structure. I hope that my work will resonate with the viewers emotionally and, at the same time, inspire them to think more deeply about identity, power, and injustice and to reflect on the relationship between their own experiences and the social environment.

Speaking of your work, in Away Way you draw on Taoist principles and meditation to construct a utopian realm. Can you share how these philosophies have influenced your creative process and personal journey?

I have long wanted to explore my innermost desires and aspirations through my work, and in the early stages of creating this work I was undoubtedly inspired to do so again and again, and finally I began to try to walk and meditate alone in the countryside, an act that reminded me of my experience of riding a motorbike alone on the outskirts of Shanghai. I used this experience as a starting point to dig deeper into myself, and I began a motorbike trip in the UK in the form of a Zen walk, where I would search for places along the way that resonated with me, and at each place, I would stop and meditate in the moment while recording my feelings in haiku form. The trip lasted about a month, and I found five locations and collected materials around them to make five installations. The five installations in the project were inspired by the five objects that I had the deepest relationship with during my life experiences in China, and I reproduced these objects in the form of installations to create this final work.
This project encompasses a summary of my experience of growing up and living in China for more than twenty years. I believe that for the younger generation growing up in China, many mental illnesses are the result of social problems. Under long-term political oppression and bondage, it is difficult for young Chinese people to have a healthy mental state. And Chinese society as a whole does not pay much attention to the mental health of the population. Mental illness is marginalized, and from childhood to youth, many young Chinese people live in a set trajectory, with few thinking about what they really want to pursue in their lives in such an environment. Like the young people mentioned above, I questioned authority and homogenized brainwashing education as a teenager but was unable to change any of my external circumstances. I suffered from severe depression in high school, and it was only when I came into contact with photography and contemporary art that I was able to find a way to express my emotions, and my psychological problems were cured. During the course of this project, I learned about the Taoist philosophy of 'the unity of heaven and mankind,' which aims to develop the inner strength of each individual, to let nature take its course in the face of force majeure, and to accept the present moment. This was exactly what I needed. My upbringing in China led me to explore inwardly, and through the practice of Zen and meditation, I began to understand myself and reconcile with my past.

On the other hand, Nobody Spaces reflects on isolation during the Shanghai lockdown. How did this project evolve, and what do you hope viewers take away from it?

I was in London during the Shanghai epidemic lockdown. As my family and friends were in Shanghai, I was in close contact with them on a daily basis during their enforced quarantine at home for 2 months, during which time they suffered from food shortages and emotional breakdowns. I tried to help them find some good in the situation while continuing to encourage and comfort them. As I continued to encourage and reassure them, I also tried to help them find something good in their situation. I would ask them to take selfies of themselves at home every day and send them to me, and I found something interesting in their selfies, and that's how the No Man's Space project was born.
It was in London that I felt the pain of my family and friends as a bystander, and it was the first time that I strongly felt the insignificance and powerlessness of the individual in the face of a powerful system. As the myth of Sisyphus suggests, all we can do is change our mindset in the face of powerlessness. I am currently working on a project called 'No Man's Space', through which I hope to make the audience feel the greatness and power of the individual and the need to challenge the system that belittles the individual.

Your project, Allow To Be, addresses gender inequality and societal constraints on women in contemporary China. What was the most challenging part of exploring such deeply entrenched societal structures, and what insights did you gain from the process?

The most challenging part is undoubtedly to dig deeper and reveal those deep-rooted concepts of gender inequality. The stereotypes and traditional roles of women in Chinese society are often hidden and subtle and need to be revealed through careful observation and dialogue. This made me realize that many real-life problems are not as simple as they seem and that there are often complex power structures and social expectations behind them. And it was also a challenge to make the women who visited the research realize how women can be treated fairly; many had never left a gender-unequal environment, and her mind was bound and distorted by her environment far more severely than I had anticipated.
In the process, many of the women's stories were often filled with courage and hope, giving me a deeper understanding of how women can be resilient and pursue themselves in the face of societal oppression. Through these exchanges, I realized that although we are in a gender-unequal society, women always have the potential to challenge these limitations and find their own voice.
At the same time, I have also realized that change does not only require individual efforts but is equally indispensable to the transformation of social structures and ideologies. Through my work, I hope to stimulate more discussion and reflection and encourage women to explore and express their true selves. This project has also made me realize that art is not only about self-expression but also a way to promote social change.

What future directions or themes are you excited to explore in your art practice, and how do you see your work evolving in response to contemporary societal challenges?

I look forward to continuing to explore the connection between spiritual healing and social justice in the future, especially how to find inner peace in the face of the stressful and challenging times of modern society. I believe that in these times of uncertainty, people need a voice that resonates and finds strength and support through art.
Through my works, I hope to arouse more people's attention to individual destiny and social issues and to promote discussions on topics such as mental health and identity. Behind the themes of social power, individual will, and Zen philosophy, I hope to bring the audience a kind of encouragement to face their own difficulties positively, which is also the greatest significance of photography for me at the moment.

Lastly, what are you working on now? Do you have any upcoming projects or series you would like to share with our readers?

My new project on the urbanization of my hometown, which I started shooting this year, was inspired by my longing for my hometown and my helplessness in the face of the government's forced transformation of ancient buildings into modern tourist attractions. My hometown is a thousand-year-old town on the outskirts of Shanghai, where I have lived since I was born. After graduating with my undergraduate degree, I left my hometown to pursue a career in photography in a more developed area, and this town was my spiritual support as I drifted around. Now, however, the town is becoming more and more unfamiliar to me. Historic houses and buildings are being demolished under the government's renovation program and replaced by gorgeous but empty shells. The locals and I understand the government's desire to develop and grow local tourism and culture, but the government has neglected to pass on traditional culture and destroy the local community, many of whom have lived in the town since birth but are now being forced to move out of their homes into government-arranged flats. In this project, I was confronted with the insignificance and helplessness of personal emotions and memories in the face of social change.