I was born in Jinan, China, in 1999. I earned my BFA from CalArts and recently completed my MFA at ACCD. I work primarily with photography, exploring themes and concepts such as hyperreality and consumerism. My work examines the relationship between individuals and changing social conditions and has been exhibited internationally.
Born: Jinan, China
Now: Los Angeles, United States
@zengyi_zhao | zengyizhaoart.com | Photobook
INTERVIEW
How have your studies at the California Institute of the Arts and the ArtCenter College of Design shaped your approach to photography and media?
During my studies at both schools, I was immersed in an environment that fostered experimentation and conceptual thinking, encouraging me to push the boundaries of photography as an art form. At the same time, I was challenged to refine my technical skills. Together, these experiences equipped me with a balanced approach—one that is both technically precise and conceptually provocative. They also reinforced my commitment to using photography as a medium for critical observation and social commentary, particularly in exploring the alienation and commodification of modern life. During my graduate studies, I am interested in exploring themes like hyperreality and the sublime, which have become central to my work.
You often explore the boundaries between reality and illusion, authenticity and artificiality. How do you achieve this balance in your photographic compositions?
My photographic work navigates the space between reality and illusion, questioning their boundaries. I see a photograph as capturing only the surface reality of a fleeting moment—the brief instant the shutter is open. For me, photographing is an immersive experience shaped by emotions, sounds, scents, and more. I aim to convey the authenticity of these moments and my reflection on it, using post-processing to materialize their complexity.
My compositions are marked by a consistent use of manipulation and layering. I carefully examine my subjects, meticulously observing details as they unfold. This image, stitched from dozens of photographs, captures a dune buggy meet on the west shore of the Salton Sea. The buggies repeatedly climb the slope, their roaring engines echoing throughout the valley. This encounter was unplanned, but the mechanical intensity and laborious effort behind these leisure activities left a profound impact on me, inspiring this image.
Could you tell us more about your current projects focusing on luxury goods displays and environmental interventions? What messages are you aiming to convey?
This project documents the bones of aquatic life collected from the skeleton-covered shores of the Salton Sea. Formed in the early 1900s by canal breaches that diverted the Colorado River into the valley. Since the 1990s, rising salinity has caused widespread die-offs of surrounding wildlife, and it is considered one of the largest environmental disasters of our time. These photographs stands as a testament to human control and impact on the environment, deeply intertwined with Southern California’s economic development.
My series on luxury goods displays is an ongoing project exploring consumerism. I have collected display trays used by luxury brands. These trays were never meant to enter the market but were designed only for presentation. Despite their modest materials, they often carry high prices due to their desirability in the secondary market. Their circulation reflects brand premium and symbolizes the personal consumer market in the post-capitalist era.
Your solo exhibitions, such as Insomnious Monster and An Interstellar Distance, seem to carry distinct narratives. How do you approach storytelling in your exhibitions?
In my work, storytelling doesn’t necessarily exist, as each photograph can independently narrate a scene or story. They might merge different moments in time, locations, or events. Through my interpretation of these images, I hope viewers can form personal interpretations between reality and illusion, personal experience and collective memory.
“Insomnious Monster” draws from my personal experiences during road trips across the U.S. Influenced by Guy Debord’s concept of dérive, I drift through industrial landscapes to deconstruct them as “artificial realities” shaped by capitalism and modernity. By merging day and night images, I create surreal visuals that dissolve the boundaries of time, rendering these landscapes both real and beyond reality.
In contrast, “An Interstellar Distance” is a project I created during my BFA studies, presented as a photobook and exhibited in both China and the U.S. It explores the perception of time and space by juxtaposing images from different locations, blurring geographical boundaries to create a visual connection that transcends physical distance.
Your performances, such as Digital Creatures at The Box Gallery, blend photography with other art forms. How do these interdisciplinary projects expand your artistic expression?
The performances at The Box Gallery were initiated by artist Ei Arakawa-Nash, who also provided invaluable support during the creation of this piece.
This performance art piece draws inspiration from Insomnious Monster. I arranged numerous electronic devices on the ground within the space and disguised myself as a faceless, glowing entity using an emergency blanket, attempting to interact with these electronic objects. My focus was on exploring the alienation of individuals under consumerism. Through this surreal yet strangely captivating performance, I aimed to prompt the audience to reflect on the relationship between technology and the individual.
Beyond performance art, I have also worked with video; however, I have not yet exhibited my video works in galleries or art spaces. Most of my creations are born from personal reflections, lived experiences, or resonant theoretical concepts. Ultimately, the final artwork is merely a vessel for these ideas. At this time, photography remains the most effective medium for conveying my thoughts.
You’ve participated in international exhibitions and book launches across China, Korea, the USA, and Italy. Which of these experiences do you consider most impactful to your career?
Throughout my artistic career, I have participated in numerous exhibitions and events and actively engage in events organized by fellow artists, including exhibition openings, screenings, and social gatherings. These experiences not only keep me connected with my peers but also allow me to expand my network. I believe that participating in these communities is essential for an artist’s professional growth. I am truly grateful for the ongoing support and encouragement from my family and friends, which has been invaluable throughout my journey.
If you could give one piece of advice to emerging photographers aiming to critique societal systems, what would it be?
To critique societal systems through photography, one must learn to bridge visual language and theoretical thinking, combining the real world with abstract theory—a process I have explored for a long time. Throughout this journey, studying sociology, media theory, and philosophy has greatly enhanced my ability to express ideas. My advice would be: do not be afraid to explore fields that may seem “non-visual,” such as economics, politics, and technology. Photography is not just about what to capture, but more importantly, about how to perceive, interpret, and present the environment, ideas, and concepts that surround us.
My advice would be: do not be afraid to explore fields that may seem “non-visual,” such as economics, politics, and technology.
Photography is not just about what to capture, but more importantly, about how to perceive, interpret, and present the environment, ideas, and concepts that surround us.