10 Questions with Zengyi Zhao

Zengyi Zhao was born in Jinan in 1999 and graduated from the California Institute of the Arts. He also held a Master's degree at the ArtCenter College of Design. He is an artist who primarily uses photography and video as his creative method. As an artist who has lived through multiple cultures and localities. His photography revolves around the critique of inauthenticity and alienation brought by capitalism and consumerism concerning the individual’s relationship to the changing social conditions. In his work, he visualizes the connections between individual life and grand narratives, discussing the presentation and impact of different sociocultural phenomena such as modernity and spectacle. His work has been shown nationally & internationally, including at the Three Shadows Photography Art Center (CHN), SEOUL International Photographic Exhibition (KOR), and The Boomer (UK), among others, such as LA ArtCore and 4C Gallery in LA.

zengyizhaoart.com | @zengyi_zhao

Of Course, Still Here | Project Description

In Of Course, Still Here, Zengyi uses a medium format camera with the Pixel Shift technique to create 400MP images. Through synthesizing and manipulating dozens of photographs into one final image, he collapsed time within the photograph, and what appears to be authentic and reliable landscapes hide countless artificial compositions and modifications. In Zengyi's work, he aims to create a space between the realm of existence and the photographic illusion. The landscapes indicate a vast artificial reality shaped by collective imagination and rules. These photos explore the concepts of time and authenticity in the medium of photography and also question the presence of time and authenticity in consumer behavior.

Entertainment activities are a form of commodity in contemporary society. As capitalism tends to commodify everything, it calls out its authority—the authority behind technology and societal planning—which guides and educates the consumer's mind. Under commercial operations, man-made spectacles emerge, waiting for people to gaze and possess them. As in the caves, lights meticulously craft a sense of mystery and sublimity, inventing, manufacturing, and marketing the relationship between the viewer and the commodities. The commodity is the cave itself as a spectacle, a hyperreality. The deliberately arranged lights, narrow, crowded pathways, and prominently introduced signs all encourage the viewer's gaze and drive their steps to capture everything they see. Such gazes are omnipresent in Zengyi's life and creative process; he seems to see everything, yet nothing at all.

For Zengyi, the process of photography is a critical observation of these scenes and a reconstruction of his past experiences. He has participated in, felt, and perhaps enjoyed these events as extensions of his will and body; as McLuhan would say, these experiences are massaging "me". But what happens outside these seemingly natural and rightful social activities and environments? Zengyi is drawn to the occurrence of these events and the social reality that they point to. Thus, he raises his camera to shoot, just like the other tourists in the cave, viewers of SpaceX launches, and concert attendees. He took a step back and tried to experience and deconstruct the experience itself. As Sontag pointed out in On Photography, "Photographs are experience captured, and the camera is the arm of the consciousness in its acquisitive mood." Traces of Bauman's liquid modernity might be found in these photos, where not only people and capital are in flux, but experiences are too, existing in the processes of consumption and tourism, and changing with the collective narrative.

Of Course, Still Here #2 - Dodger Stadium parking lot event, Aluminum composite panel mounted inkjet print, framed, 50 x 40 x 2 1/2 inches, edition of 4, 2023 © Zengyi Zhao

INTERVIEW

Please tell us a bit about yourself. Why did you choose photography as your primary medium, and how did you become interested in it?

I am Zengyi Zhao, a photographer and video artist from Jinan, China, currently based in Los Angeles. Having spent significant time living between China and the United States, my work is deeply influenced by the multicultural experiences of navigating different societal landscapes. This duality gives me a unique perspective on modernity, capitalism, and consumerism as I critically explore how these systems shape human experiences across different cultural contexts. Photography for me is a tool which enables me to reconstruct both familiar and artificially made environments, blending time, space, and reality to question notions of authenticity and the commodification of daily life.
From a young age, I had a habit of closely observing small details. I could spend hours and hours watching animals or insects, captivated by their movements and interactions. This early fascination sparked my interest in photography—a way for me to capture and explore the often-overlooked details of the world. With the support of my parents, it felt natural for me to pursue photography more seriously.

What is your artistic background, and how did you become the artist you are today? What studies, training, or experiences helped you along the way?

My artistic background has been shaped by both my undergraduate and graduate studies, I completed my BFA at CalArts and my MFA at ArtCenter. These academic environments provided me with the space to explore and develop my ideas continuously. Surrounded by supportive friends and mentors, I was able to push the boundaries of my work, which has been essential to my growth as an artist.
In addition, I co-founded Mirror Stage with a group of friends, an online platform dedicated to young artists. It aims to provide a space for exchanging ideas and showcasing new work. This experience not only helped me grow as an artist but also reinforced the importance of community and collaboration in the art world. The support and engagement with my peers have been instrumental in shaping the artist I am today.

Of Course, Still Here, Installation view © Zengyi Zhao

As someone who has experienced multiple cultures, how does your multicultural background influence your perspective on the social conditions you critique in your art?

My experience navigating between cultures allows me to question established norms and systems from a multicultural perspective. I was born in a provincial capital in China and have spent the last seven years in the U.S. As part of a younger generation shaped by globalization and digital connectivity, I grew up in an environment where Eastern and Western cultures both blended and clashed. This duality is often reflected in my artistic practice, as my frequent travels between different regions exposed me to various social changes. At its core, my work frequently examines the spectacle of modern life and the commodification of human experiences.

As you mention in your statement, your work often critiques the inauthenticity and alienation caused by capitalism and consumerism. What inspired you to focus on these themes, and how do you express them through your photography and video?

My interest in capitalism and consumerism originates from observing the rapid economic and social changes in China.Instead of focusing on the differences between the U.S. and China, I find it more compelling to explore how both societies are shaped by similar consumer-driven dynamics. It feels as though the pace of change in China amplifies the alienation and the commodification of life, making it a microcosm of the global shift toward consumption-driven identities.
Through my photography, I explore how capitalism and consumerism create familiar yet artificially constructed systems. In my recent project, Of Course, Still Here, I documented scenes such as activities at national parks, outdoor carnivals, and other social gatherings. In one photograph from a Pokémon event at the Rose Bowl, for example, the physical manifestation of virtual spaces is evident. The image features a temporary signal tower in the foreground, players in the middle, and signs guiding their activities. In the distance, a separate group plays golf, highlighting the coexistence of a different leisure activity.
What's striking to me is that all these gatherings are based on a reality that doesn't actually exist—these players are capturing "Pokémon" on a virtual map. The virtual world, through algorithms and marketing, becomes physically manifested in this event. As a consumer of technology and Web 2.0, I've grown so accustomed to this arrangement that it hardly registers as unusual. For me, this connects deeply to Baudrillard's concept of hyperreality, where modernity is filled with invented, virtual experiences that shape our gaze and behaviors, blurring the line between reality and simulation.

Your work also explores the connection between individual lives and larger societal narratives. How do you visualize this relationship in your photography?

Based on my experiences living in China, the rapid social and economic development has often left me with a sense of powerlessness, as individuals seem swept along by the forces of the times. This is where my interest in comparing collective identity and individualism originates. In my photographic work, this relationship is often visualized through the proportion that different objects occupy within the frame. By examining the structures and elements within the scene, I can break down and analyze the environment. In other words, I enjoy deconstructing the scene at hand so that the photos I take not only represent what I see but also reflect what I feel and understand about that environment. In this approach, my work represents both my personal perspective and experiences while also revealing the relationship between individuals and their environment.

On that note, can you tell us more about your recent project, Insomnious Monster? Where did you get your inspiration from, and how did you turn it into the final project?

The inspiration for "Insomnious Monster" came from my road trip experiences across the U.S., where I encountered numerous industrial structures far removed from the familiar urban landscapes and the so-called civilized society. This stark contrast sparked a reflection on how, as a member of society, my everyday experiences are deeply intertwined with the consumption of natural resources and land. I began to feel a sense of unease, questioning the seeming normalcy of our existence and the exploitation underlying it.
To capture this idea, I approached these industrial landscapes in the same way I would photograph people—using portrait-like techniques. Through this, I aimed to highlight the relentless pressure that modernity and industrial machinery exert on the natural environment, revealing the unsettling dynamics at play beneath the surface of what we often take for granted.

Insomnious Monster 01, inkjet print on Satin paper, 60 x 40 inches, 2024 © Zengyi Zhao

Insomnious Monster 03, inkjet print on Satin paper, 60 x 40 inches, 2024 © Zengyi Zhao

Another recent project of yours is Of Course, Still Here. Can you explain the Pixel Shift technique you use in this project? How does this method help you convey your ideas about time and authenticity?

The Pixel Shift technique involves capturing multiple images of the same scene with slight sensor shifts, resulting in a final image with a much higher resolution—around 400 megapixels in my case. This method provides the level of detail necessary for large-scale printing and allows viewers to engage closely with the image. However, the concepts of time and authenticity are conveyed through the compositing process and layering rather than through the Pixel Shift technique itself. For example, in this photograph of a carnival at Dodger Stadium, I combined images of the same event captured at different times, creating a composite that merges both day and night. During the day, workers are busy setting up the stage, while in the evening, the event unfolds. By observing and re-arranging the chronology of this scene, I was able todeconstruct the event itself. For me, this image captures not only the event but also the behind-the-scenes activities, representing my observations.

How do you balance depicting authentic objects and landscapes with the artificial ones in your work? What do you hope viewers take away from this juxtaposition?

I composite multiple photos together, so while the images appear highly realistic and viewers can closely observe fine details, they are ultimately products of post-processing. Everything in the photographs is real and existed in the scene I captured, but the way I assemble them creates a subtly inauthentic reality. This ability to 'deceive' the audience is made possible by technological advancements such as better algorithms and A.I., and often, viewers only recognize the manipulations after I explain the process. I believe this phenomenon aligns with the symptoms brought about bycontemporary social media and information dissemination platforms. Their deceptive appearance captures the audience's attention through an overload of stimuli and information sources. This approach encourages a focus on details while discouraging a deeper understanding and interpretation of the broader system.
Recently, I had conversations with people about AI-generated images and how they relate to the idea of deceiving the audience. How will our views on the world and media shift if we are no longer able to distinguish what is AI-generated?This growing intersection between photography and A.I. raises critical questions about authenticity, as viewers often struggle to differentiate between what is real and what has been altered or fabricated without additional context. In both cases, including my own work, we are compelled to reconsider the trust we place in images and the narratives they present.

Your work has been showcased in various international exhibitions. How do different audiences react to your critique of modernity and your work?

Audiences from different regions and cultural backgrounds often respond uniquely to my critique of modernity, reflecting their own societal contexts. Many of my conversations explore how modernity shapes realities, with concepts like Sinofuturism and Gulf Futurism being particularly relevant to specific regions.

Lastly, what new themes or techniques are you excited to explore in your future projects? How do you see your work evolving in the coming years?

Looking ahead, I have a long list of locations and events that I'm excited to photograph, such as the chip manufacturing factories, Starship launch, logistics hubs, and other places in China. These could potentially stand as individual works in future exhibitions. In addition, I'm working on a project centred around luxury goods displays, where I've collected display trays used to showcase items. These trays aren't sold in the market and lack traditional price tags, so their value is closely tied to the brand's prestige. In this project, I aim to explore consumerism more deeply and also focus on the value system that has been built around it.

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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