10 Questions with Han Yang

Han Yang is a distinguished visual artist and photographer based in London, celebrated for her innovative and emotive artistry. Her work masterfully combines abstract and surreal elements to evoke profound emotions and explore the complexities of human psychology. Central to Han's artistic vision are themes of femininity, the human body, gender, and technology, which she vividly represents through oriental metaphors.

With a distinctive visual language, Han skillfully captures the inner worlds of her subjects, creating images that resonate deeply with viewers. Her unique approach has earned her prestigious accolades, including the SONY Young Photographer Award, the Nikon Cup, and the Qaidam Cup. Han's art continuously pushes the boundaries of contemporary visual expression, engaging audiences on a global scale.

Her ability to intertwine conceptual depth with visual elegance has established Han Yang as a prominent figure in contemporary art and photography. She remains dedicated to exploring new artistic frontiers, consistently delivering work that challenges perceptions and inspires dialogue. Through her exceptional talent and innovative perspective, Han Yang continues to leave an indelible mark on the world of visual arts.

www.yanghan-photo.com | @yanghanphoto

Invisible | Project Description

"INVISIBLE" delves into the intricate relationship between women and technology through the lenses of gender studies, feminist theory, and visual culture. This project blends digital illustration with traditional photography to create striking artwork.

Through extensive interviews and theoretical research, "INVISIBLE" examines the profound impact technology has on women. While technology brings convenience to modern life, it also objectifies women's essence, exacerbating the gender equality gap. In a male-dominated tech industry, it is crucial for feminists to decode the true implications of technological advancements. As female artists and photographers, we must leverage technology to redefine our narratives and inspire change among women.

Dr. Jennifer Hall's assertion that "one single identity can push other single identities" is a guiding principle for this project. It highlights the power of individual identity in shaping broader social paradigms. "INVISIBLE" demonstrates that science and technology encompass not only hardware and software but also our inner selves and societal roles.

This project is a call to action for women to reclaim their narrative within the digital realm, using technology as a tool for empowerment and equality. Through "INVISIBLE," I aim to challenge and reshape perceptions, encouraging a critical examination of how technology influences and transforms women's lives and identities.

Invisible - Confusion, Chromogenic Print, 60x70 cm, 2019 © Han Yang

INTERVIEW

What initially sparked your interest in visual art and photography?

Becoming a photographer seemed to be destiny for me. I grew up in an environment immersed in photography; my parents were photographers, and cameras were common tools in my daily life. Despite this, I never envisioned myself becoming a photographer after graduating from university. It was only when everything in my life was on a stable track that a sudden idea changed my direction. I became determined to live my life meaningfully and started working as a photographer. Rather than me choosing photography, it felt as if photography chose me.
Photography, like painting, has the power to silently express my inner emotions. This medium has the unique ability topresent the mystery of the depths of desire and resonate with people.
As a female art creator, my alertness to the situation and status of contemporary female identity in fashion, economy, society, art, and culture has led me to use art as a means and medium of self-expression and reflection. My work style has evolved in response to my awareness of women's power and my philosophical exploration of the gendered power of images to be feminine.

Fetish Animal, Analogue Photography, 60x75 cm, 2023 © Han Yang

How did you develop into the artist you are today? What experiences or training helped you along the way?

My development as an artist has been shaped by a combination of formal education, personal experiences, and cultural influences.
I received a formal education in visual arts at the University of the Arts London, where I honed my technical skills in various mediums, including photography, digital illustration, and 3D technology. Pursuing a PhD in arts and humanities allowed me to delve deeply into theoretical frameworks and critical perspectives, which significantly influence my work today.
Growing up in China and experiencing its rapid development gave me a unique perspective on cultural identity and transformation. This background deeply informs my artistic themes and visual style. Living and studying in different parts of the world, including Europe, exposed me to diverse artistic traditions and contemporary practices, enriching my creative outlook.
My early career in the fashion industry provided practical experience and a keen eye for aesthetics. It also exposed me to the intersection of art and commerce, influencing my approach to creating visually compelling work. Participating in international exhibitions and collaborative projects has expanded my network and provided valuable feedback, helping me grow as an artist. Being part of various artistic communities and feminist organizations has provided support, inspiration, and opportunities for collaborative endeavours. These experiences and training have collectively shaped my development into the artist I am today, enabling me to create work that is both technically proficient and conceptually rich.

Were there specific artists or movements that influenced your early development? And what influences or role models do you still have today?

My parents were a big influence on me. Throughout my childhood, they often photographed me, which sparked my interest in the magic and enchantment of photography. A memorable experience was when my father took me to a pond full of lotus leaves and flowers, and through different lenses and multiple exposures, he captured me with five different expressions in one photo. This showed me the artistic possibilities of photography long before digital cameras and Photoshop.
My father’s love for Chinese bird and flower paintings and landscapes has deeply influenced my work. The ancient Chinese literati used landscapes to reflect their political aspirations, which may have shaped my artistic vision. Many of my works incorporate natural elements like flowers and birds, exploring the intimate link between humans and nature. This connection is not just about living space and interdependence but also a philosophical relationship imbued with perception and ecology. These influences have consistently inspired my work, aiming to express my feelings about life and nature.
Today, my father remains a significant influence and role model. His passion for art and nature continues to inspire me to explore and express the intricate relationship between humans and the natural world in my own work.

You utilize oriental metaphors to explore themes of femininity and gender. Can you elaborate on some of these metaphors and what you hope viewers take away from them?

In my work, oriental metaphors serve as a rich tapestry to explore and express themes of femininity and gender. Here are a few key metaphors I frequently use and their intended impact:

Nature Elements: Flowers, such as peonies and lotus blossoms, are traditional symbols of beauty and purity in Eastern cultures. They represent the delicate yet resilient nature of femininity. Through these images, I aim to highlight the strength and grace inherent in female identity. Birds like cranes and phoenixes symbolize freedom, transformation, and rebirth. These metaphors are used to convey the evolving nature of gender roles and the empowerment of women.
Oriental Philosophy and Mythology
Yin and Yang: This ancient concept embodies the balance of opposites, such as femininity and masculinity. By exploring this duality, I encourage viewers to consider the fluidity and interconnectedness of gender identities. In ancient Orient, the saying was 'sky is round, ground is square.' It is an ancient scientific understanding of the universe and also implies the philosophical concept of 'the unity of nature and humans.' Since everything from nothing to something, which has a close relationship with the universe and energy changes, the ancients believed in 'Tian Ren Unity' to comply with the ever-changing rules of nature. Throughout the natural world, all round objects have the characteristics of good movement and instability, just like the round sun and moon in general. However, square objects have static and stable characteristics, like the ground. In traditional Chinese culture, the philosophy of YIN and YANG is the core and essence of Chinese culture. Movement is Yang, and stillness is Yin. Therefore, the dynamic "Round" symbolizes Yang, representing positive, active matters. The static "square" symbolizes Yin, representing negative and passive matters. I hope to convey the concept of "the unity of nature and humans" in my work, representing the Chinese culture's way of understanding people and self-identity and knowing the world. Thisis why you often see round or square objects in my scene settings.
Goddesses and Mythical Figures: Figures like the moon goddess Chang'e are used to explore different facets of femininity, from nurturing and grace to courage and strength. These stories serve to empower and inspire viewers, particularly women, to embrace their multifaceted identities. I hope viewers gain a deeper appreciation for Eastern cultural symbols and philosophies, recognizing their relevance and resonance in contemporary discussions about gender and identity.

By juxtaposing traditional metaphors with modern themes, I aim to challenge and expand the viewers' understanding of gender. I want them to reflect on the fluidity of gender roles and the ongoing struggle for gender equality. Ultimately, I hope my work inspires viewers, especially women, to find strength and beauty in their own identities. By presenting complex, multifaceted representations of femininity, I seek to empower individuals to embrace their unique qualities and challenge societal limitations. Through these oriental metaphors, I strive to create art that is not only visually captivating but also thought-provoking, encouraging viewers to engage with and reflect on the intricate dynamics of femininity and gender.

Invisible - Transformational, Chromogenic Print, 60x70 cm, 2019 © Han Yang

Let's now discuss your "INVISIBLE" project. Can you describe the inspiration for this project? How did the research process using gender studies and feminist theory inform the final artwork?

The program "INVISIBLE" started with a thorough literature review of research in the areas that I thought may shed some light on the following two questions: (1) What is the relationship between women, technology, and fashion? And (2) How does technology impact women? Traits traditionally cited as feminine include gentleness, empathy, humility, and sensitivity (Kite, 2001), though traits associated with femininity vary across societies and individuals and are influencedby a variety of social and cultural factors (Burke and Stets, 2009). I have researched and studied gender studies, psychoanalytic theories, theories of fashion and bodies, and symbolic interactionism studies in the last two terms of my postgraduate study, which has paved the way for me to explore these themes in more detail in a master's program. Thus, I began with the research question, and my research areas included feminist theories about science, Donna Haraway's cyborg feminism, posthuman feminism, neurophysiology, Zeki Semir's neurasthenic, theories of technology and social theories, and visual culture.
As Haraway (1991) points out in Apes, Centaurs, and Women: "tracing one vision of women's "place" in the integrated circuit, touching only a few idealized social locations seen primarily from the point of view of advanced capitalist societies: Home, Market, Paid Work Place, State, School, Clinic-Hospital, and Church. Each of these idealized spaces is logically and practically implied in every other locus, perhaps analogous to a holographic photograph. However, there is no 'place' for women in these networks, only geometries of difference and contradiction crucial to women's cyborg identities." This shows that women are invisible in the network environment. How can a woman find ways to read these webs of power and social life? They may have to learn new couplings and new coalitions.
I researched the artist and photographer Oleg Dou, who transforms photographic images of human faces and retouches them with computer software to produce stylized features and airbrushed skin. Dou is interested in producing images that are both alluring and unsettling, and some of his images apply modern photographic techniques combined with image retouching techniques to display the coexistence of traditional and future technologies. This feature is related to the themes of technology and women that I am exploring in this project, as well as my personal aesthetic and photographic style. At the same time, Dutch artist Mirjam Appelhof's images display her inner feelings, which also attracted my attention. The contemporary Romanian painter, Sabin Balasa's works, feature a strong surreal style and cosmic romanticism, which brought me motivation and inspiration for this project. These artists have different styles and use different mediums to express their stories. They have all inspired me to create my own vision and present my idea and story.
This project is divided into nine parts and is illustrated by nine subjects: transformation, time and space, data integration, confusion, cyber women, rebirth, moon, face, and mask. The elements of the images display the features of technology and femininity, and all images combine illustration and photography in an elegant, dreamlike, and surreal style. The images use elements of myth and cyber to express women's emotions, and explore ecofeminism, where women are metaphorically and closely related to nature, and cyberfeminism, where women are related to technology.

You highlight the double-edged sword of technology for women. Can you give an example of how you visually represent both the benefits and drawbacks of technology in your work?

Certainly. In my "INVISIBLE" project, I address the dual impact of technology on women by using visual contrasts that embody both the benefits and drawbacks. Here's how I visually represent this theme in one of the sections:
In "cyborg woman" this work, it explores how the development of biotechnology and DNA coding intersects with the mechanics of technology, particularly focusing on how these advancements impact women. The theme centers on the idea that while technology offers immense possibilities for transformation and empowerment, it also introduces challenges and potential losses.
The benefits are demonstrated through elegant, romantic, and light visual colors that convey a sense of ethereal transformation. For example, a mythological image of a woman is shown, her face blending seamlessly with metal gears representing technology, such as neural networks with technological enhancements. The softness, translucency, and brightness of the light blue and light pink colors in the image symbolize the potential for women to transcend traditional limitations through technological advances, representing the positive impact of technology in innovative ways.
On the other hand, the use of metallic textures and rigid, angular shapes represents the cold, impersonal side of technology that may overshadow the human element, making women feel like mere cogs in the machine. The depiction of cogs on the right side of her face shows a darker, more industrialized environment. The tears on the left side of her face, along with an encoded logo, suggest confinement and dehumanization. The composition contrasts one half of the image, which is light and airy, full of soft organic lines, with the other half, which is dark and rigid, full of machinery and angular shapes.
This juxtaposition vividly captures the duality of technology's impact on women. By employing contrasting visual elements, I hope to provoke thought and dialogue about how to strike a balance between embracing technological advances and maintaining the essence of humanity. This representation emphasizes the importance of critically engaging with technology to ensure that it empowers rather than limits us.

Feminist theory discusses the "male gaze" in art. How does your work challenge this concept and empower women through the lens?

Feminist theory discusses the "male gaze" as a way of seeing that objectifies and subordinates women, often presenting them from a perspective that prioritizes male pleasure and power. My work actively challenges this concept by focusing on themes that empower women and portray them through a lens of agency and self-determination.
Instead of portraying women as passive objects of beauty, my work emphasizes their strength, autonomy, and complexity. By positioning women as active subjects rather than passive objects, I seek to redefine their representation in art. My artwork often embeds women within rich, narrative contexts that highlight their stories, struggles, and triumphs. This approach shifts the focus from superficial aesthetics to the deeper experiences and emotions of women. I ensure that my visual style and composition reflect a distinctly female perspective. This involves using angles, lighting, and framing techniques that resonate with women's lived experiences and self-perceptions rather than catering to traditional male-centered viewpoints.
I engage in a collaborative process with my subjects, involving them in the creative decisions and respecting their input.This collaboration ensures that their voices are heard and their agency is maintained throughout the artistic process. Through my work, I explore and critique the power dynamics inherent in traditional representations of women. By highlighting issues of gender, identity, and power, I encourage viewers to question and rethink the societal norms that perpetuate the male gaze. I use symbolic imagery to convey themes of empowerment, resilience, and transformation. For instance, in my series "INVISIBLE," I combine mythological elements with modern technology to depict women as bothpowerful and adaptive in the face of contemporary challenges.
By consciously addressing and subverting the male gaze, my work aims to create a more inclusive and empowering visual language for women. Through authentic, diverse, and narrative-rich portrayals, I hope to inspire a deeper appreciation of women's experiences and contribute to a more equitable representation in the art world.

Your artist statement positions your work as a form of activism. How do you hope "INVISIBLE" inspires change among women viewers?

Through this series, I hope to address critical issues surrounding women's visibility, identity, and empowerment in a technology-driven world. By highlighting the intersection of technology, gender and fashion, I aim to bring attention to both the opportunities and challenges women face in the digital age. "INVISIBLE" is designed to empower women by depicting them as resilient, adaptive, and powerful. I hope that viewers feel a sense of strength and inspiration from the images, motivating them to embrace their identities and pursue their goals with confidence.
Art can be a powerful catalyst for conversation. I hope "INVISIBLE" sparks dialogue among viewers about the themes presented in the series, such as gender equality, technological impact, and the importance of visibility. These discussions can lead to greater understanding and collective action. By challenging traditional representations of women and subverting the male gaze, I aim to inspire women to question societal norms and expectations. This critical perspective can empower them to advocate for change in their own lives and communities.
The use of symbolic imagery in "INVISIBLE" helps convey complex ideas about women's roles and identities in a visually compelling way. For example, the blending of human and technological elements symbolizes both the potential and the pitfalls of technological integration in women's lives. Each piece in the series tells a story that resonates with common experiences among women, such as navigating the digital landscape and reclaiming identity. These narratives provide a sense of solidarity and shared understanding. By contrasting the positive and negative aspects of technology, I highlight the dual nature of progress and its impact on women. This visual technique underscores the need for critical engagement with technology to ensure it serves as a tool for empowerment rather than oppression.
The series fosters a sense of solidarity among women by reflecting on shared experiences and struggles. Viewers are encouraged to critically engage with technology and its impact on their lives, advocating for positive changes. The visual and narrative elements inspire women to pursue their goals and embrace their strengths. By positioning "INVISIBLE" as a form of activism, I aim to create a space where women feel seen, heard, and empowered to effect change in their own lives and in society at large.

Vulnerability, Analogue Photography, 60x75 cm, 2020 © Han Yang

Do you have any future projects or themes you're considering that build upon the ideas presented in "INVISIBLE"?

Yes, I plan to embark on three distinct projects within the realm of nonhuman fashion photography within the frame of posthuman theory. These projects investigate the intersections of gender, creativity, and technology through the lens of posthuman imagination, each contributing to a nuanced understanding of subjectivity in diverse forms. Through collaborative processes with participants from queer, cyborg, and nonhuman organics, the research will develop a new practice of nonhuman fashion photography that asserts and evaluates new possibilities that rearticulate conventional subjective representations of the human body whose hegemonic hierarchical systems are founded on the oppression of gendered, hierarchical, marginalized others or objects.
The first project delves into the relationship between queer, sexuality, and technology. By engaging participants in imagining alternative bodies, I will employ analog photography and AI generators to transform these visions into nonlinear narrative images, thus exploring the hybridization of subjectivity.
Moving to the second project, the focus shifts to the cyborg concept and its implications on identity. Images will hybridize various bodies and body parts of nonhumans, challenging the limits of subjectivity distribution. The visual nonhuman elements become collaborators in a narrative, shaping the representational effects of diverse bodies.
The third project explores monstrosity, emphasizing semiotic expression and organic interaction. I will employ several families of molds to form a visual representation that highlights their interaction with each other, with the surfaces they are rooted in, the conditions (temperature, humidity, illumination, microbiota, etc.) in which they grow, and the human participants who stage them, to understand through which thresholds we maintain the dominance over our imaginary body and make invisible our distributed body.
These projects collectively trace the distribution of subjectivity through the lens of nonhuman fashion photography, transcending traditional representational perspectives. They not only (re)present subjectivity but also illuminate the transitions of subjects across various forms of bodies, offering a new aesthetic potential for contemporary fashion photography.

And lastly, what is one piece of advice you would give to an emerging artist?

One piece of advice I would give to emerging artists is to stay true to your vision and keep creating, no matter the challenges you face. Find a way that you are good at, put in all your passion and love, and listen to your inner voice. Persevere and put in the effort; I believe we will all gain something.

Artist’s Talk

Al-Tiba9 Interviews is a promotional platform for artists to articulate their vision and engage them with our diverse readership through a published art dialogue. The artists are interviewed by Mohamed Benhadj, the founder & curator of Al-Tiba9, to highlight their artistic careers and introduce them to the international contemporary art scene across our vast network of museums, galleries, art professionals, art dealers, collectors, and art lovers across the globe.

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