Image and reality are two concepts that intertwine with and relate to us in so many ways that give meaning and sense to our human experiences. A moment can define our lives, imbue our memories with joy and nostalgia and provide us with a motive to keep finding other moments with which to compose our fantasies. And when it comes to human history, it is photography and film that are the perfect tools to feed our imagination and project our desires and wishes. Introducing Shengzhe; a perfect example of this idea, but also of how campness is the quality that can make moments become works of art.
“Camp taste is, above all, a mode of enjoyment, of appreciation — not judgement. Camp is generous. It wants to enjoy… What it does is to find the success in certain passionate failures.” says Susan Sontag on Notes on Camp (1964), and these lines are a good way to introduce us to Shengzhe's aesthetics. He was born in Jilin, North China, and began to develop a taste for photography while still in high school. Later, at the university where he was studying painting, he switched to a Minolta X-700 and began an LTR with analogue photography. He launched Millenium Magazine in 2019 as a graduation project, and since then has been living his own artistic journey creating beautiful, thoughtful and heartfelt images that connect with thousands of people.
His life in China has served as a catalyst for his early work. Mythological elements, shunga books, Peter Greenaway and Yukio Mishima are a great inspiration for him; the latter being the main reference for his latest book, Kinkaku, in which he confesses: “as a child I had no concept that beauty could be something moderate, neither too small nor too grandiose. Pride had to be lighter, brighter, more visible and radiantly dazzling”. Something he’s learnt from Mishima’s literature.
His work highlights his love for the texture of old photographs, which becomes the veil of vulnerability and sensitivity that encapsulates his view of male bodies, the subject of his photography. BDSM, flowers, animals and models, with whom he strives to generate a safe environment, are the main elements of his aesthetic universe. The rest, that sensitivity that Susan Tag references, is his magic in capturing male beauty in all its aspects, and portraying homoerotic affairs.
In this interview we begin and end by talking about the aesthetics and poetry of Japanese mono no aware — the ability to be surprised or moved, to feel a certain melancholy or sadness in the face of the ephemeral, in the face of life and love — the inspiration for his next project. But also, on the influence of painting on his photographic conception, his new life in Tokyo where he can show his work with confidence, and his different series.
If you look at his work online, you will find his website: shengzheart.com. By taking a careful look at the title you will find something essential in his images: heart.
Hi Shengzhe! How are you doing? Thank you for taking your time to do this interview.
I’m honoured to be interviewed by you.
Your most recent book, Kinkaku, finds inspiration in The Temple of the Golden Pavilion, by Yukio Mishima. In my opinion, he is one of the greatest writers of the last century, and you said something really interesting about discovering his work: before reading it, “As a boy, I had no concept that beauty could be something moderate, neither too small nor too grand”. Can you tell us a bit about this work of yours and your experience with Mishima’s references?
Since I love the aesthetics of mono no aware in Japanese culture, I’m drawn to various forms of destructive beauty. That led me to discover Yukio Mishima and his literary work The Temple of the Golden Pavilion. I have always felt that beauty reaches its peak at the moment of destruction, and I am deeply interested in all stories of fleeting beauty. After reading The Temple of the Golden Pavilion, I attempted to photograph my own interpretation of the stuttering protagonist, Mizoguchi, and the clubfooted boy Kashiwagi. However, this shoot was just an experiment. Exploring the moment of destructive beauty is one of my artistic pursuits.
I have a great interest in East Asian culture, ukiyo-e, and the depiction of the male body in ancient Greek art. So after learning about Mishima, I became deeply fascinated by his vision and hoped to express the idea of an Oriental Greece through my photography.
I have a great interest in East Asian culture, ukiyo-e, and the depiction of the male body in ancient Greek art. So after learning about Mishima, I became deeply fascinated by his vision and hoped to express the idea of an Oriental Greece through my photography.
I've read that you started your relationship with photography using your smartphone. This is something apparently normal, but for my generation it is a bit shocking because we started in photography with cameras (analogue in my case). Then you switched to a Minolta X-700, so it was other way around for older people. I wonder if this is still your favourite camera to work with and how was the transition from digital to analogue. What attracted you to it?
At the dawn of the smartphone era, I used my phone to capture everyday life. Later, I acquired my first camera — a Minolta X-700 film camera. Unlike most people who transition from digital to film photography, my very first camera was a film camera, and it remains my preferred choice today. This decision is closely tied to my love for the texture of old photographs. I became immersed in the world of film photography, and now, the only time I use a digital camera is for metering light. All my actual shoots are done on film.
Film photography is expensive and complicated, but I enjoy the process of developing and scanning film, as well as the anticipation of seeing the final images. The moment of discovery when the images appear is a feeling I cherish. To me, film cameras are like high-class courtesans — expensive, delicate, and captivating. Once you’ve experienced them, digital cameras seem uninteresting. I still use my Minolta to this day.
Film photography is expensive and complicated, but I enjoy the process of developing and scanning film, as well as the anticipation of seeing the final images. The moment of discovery when the images appear is a feeling I cherish. To me, film cameras are like high-class courtesans — expensive, delicate, and captivating. Once you’ve experienced them, digital cameras seem uninteresting. I still use my Minolta to this day.
Through different perspectives, models, positions and narratives, naked men are the protagonists of your work. When did you discover that they were to be the vessel to portray your ideas and stories?
When people think of me, the first words that often come to mind is male body. Why do I focus on male photography? Because I love men. I love all types of men — each has his own beauty and appeal. Before 2020, my personal artistic goal was to make men look sensual in my photographs. However, as I took more and more photos, I felt that I had already accomplished this goal and had moved on to the next artistic pursuit.
Vulnerability and sensitivity are constantly present within the sexual connotations we can find in some of your photos. The models have an active role in the sense that their emotions and desires are a layer of meaning above the bodies themselves. How would you define your photography? Has it helped you to achieve personal goals or overcome specific struggles?
My work is closely tied to themes of vulnerability and sensitivity. Perhaps this is related to my personal aesthetic preferences, I love all things fragile. As for whether my photography fulfils the expectations of others, I don’t know. But I can say that my models and I create these works together, and that makes me happy.
In some of your series, elements such as flowers, animals or fabrics are present in the images, not only as part of the composition, but as an interactive element of the story or even as an extension of the portrayed bodies. Can you tell us about these elements and the role they play for you?
Each of my series has a clearly defined story, and all the elements in my images extend from that narrative. The reason they exist varies depending on the story, but in every case, their presence is meaningful within that context.
BDSM is also quite a common element in your photographs, has it facilitated to broaden the attitude or meaning within photography, especially when portraying nudes?
BDSM gives me a sense of contrast and danger. Since I am drawn to the visual impact of contrasts, BDSM elements frequently appear in my work.
From the outside it seems that working with models for an art project can be quite intimidating for both parties, what is the process like from finding the right person to achieving the desired result, and to create the right atmosphere for the shootings?
I’m not sure if working with me is intimidating for my models, but for me, finding the right model is always a challenge. My creative process is model-driven; I don’t simply decide on a theme and then randomly find a model to fit it. Instead, I first confirm a model, communicate with them, and if they’re comfortable with the concept, I spend one to two months adjusting the creative approach based on their characteristics. Only then do I prepare for the shoot.
I believe that the harmony between the work and the model is crucial. Otherwise, it’s like wearing an outfit that doesn’t suit you, it just doesn’t work.
I believe that the harmony between the work and the model is crucial. Otherwise, it’s like wearing an outfit that doesn’t suit you, it just doesn’t work.
One thing for sure that we find in your work is the development of a unique style. In my opinion, that is a very difficult thing to achieve. Looking at some of your series, some photographers like Pierre et Gilles, Ren Hang, Mapplethorpe, Avedon or even David LaChapelle could be references. I wonder if some of them are, and if you have found any other photographer who has been key in developing your relationship with the world of the image.
I don’t know if my work is unique, but what I present now is simply the result of my current aesthetic sensibilities and skills. In the early days, I was influenced by some photographers, but about six or seven years ago, I entered a phase of exploring my own style. Through experimentation, I gradually arrived at my current visual approach. However, during this process, I consciously avoided looking at other photographers’ works. The world of film photography is quite narrow — similar lighting, similar film scanning equipment, and similar effects due to the nature of film itself. How can one create true differentiation? I don’t know. I only hope that my work reflects my own aesthetic sensibilities. That’s enough for me.
If I were to name the figures who have influenced me the most, they wouldn’t be photographers. My inspirations come from cinema, painting, and dance.
If I were to name the figures who have influenced me the most, they wouldn’t be photographers. My inspirations come from cinema, painting, and dance.
Censorship is something common nowadays, unfortunately, especially in the context of artistic works that may show nudity or sex, when people don't know how to read beyond the purely physical or are annoyed by the purely physical. Have you ever suffered censorship when making, showing or publishing your work?
Censorship today is incredibly strict, both online and offline. When I was living in China, it was impossible for my work to be seen by the public. However, since early last year, I started a gap year and came to Tokyo to study. Fortunately, in Tokyo, at least, my work can be seen. That makes me very happy.
Have you ever received negative comments from other people when viewing your work? And if so, has it influenced (or inspired) you?
Due to regional and cultural differences, people’s perceptions vary. When showcasing my work in different places, I have encountered negative comments and even cyberbullying. I’ve seen those criticisms, but they haven’t affected my creative direction — nor have they inspired me. After all, I’m not a performance artist.
Horseracing in a Dream is one of your most recent series; you exhibited this work at CAP74024. These beautiful images feature a horse, and there have been other occasions when you have worked with animals in your work. What was the process like?
For Horseracing in a Dream, I shot in multiple locations, including an old Japanese house, the seaside, and a studio. This series is about dreams and horses. Since dreams are intangible, I wanted at least one scene to feature a real horse. Instead of a vast grassland, I placed the horse in the ocean, because to me, dreams are vast, fleeting, and impossible to grasp. This was the first complete project I shot after arriving in Tokyo. I spent two months communicating with the models and stylists, and another two months filming in different locations. It was a project that wouldn’t have been possible without the help of many friends.
In others, like Final Fantasy (my favourite), you mixed photography with oil painting providing an ethereal and dreamlike look, rarely seen in most of your work. If I'm not mistaken, you studied painting at university, did this influence your vision when composing the images or finding the right colours?
Final Fantasy was an interesting project created during the pandemic. At the time, I couldn’t go out to shoot but still wanted to create new work. So I repurposed previously discarded photos and combined them with classical oil paintings, forming this series. I’ve been studying painting since I was nine years old, and I still illustrate today. Before every shoot, I sketch out my ideas. Painting has had a profound influence on my work, shaping my approach to composition and colour.
On your website, right after your name, the description says: Man was born for love and revolution. Surely we need something like that all over the world. How has photography influenced your life; beyond the obvious professional meaning it has for you?
Photography has deeply impacted my life. More and more people have come to know me through my work, and all my thoughts are expressed through my images. I have a strong urge to create, and if I go too long without producing new work, life starts to feel dull. I want to create something more unique and beautiful.
This year is your 30th birthday (happy birthday in advance!) What have you learned during these 10 years developing your style and working on your photography?
Though I still have a long way to go before turning 30, one of the most important lessons I’ve learned over the past decade is this: if you want to create great photography, don’t look at photography, look at other forms of art.
Sadly, things are getting more difficult for the LGTBQI+ community around the world. What is the situation like where you currently live? Does it affect your work?
Right now, I don’t feel any particular hardship living in Tokyo. Everything is going well, and I’m enjoying both my life and creative environment here.
Finally, what are you currently working on?
Aside from working with various magazines, I’m also preparing my next project, which will explore Japanese mono no aware aesthetics and poetry. It will be completed soon, and I’m very excited about it.
Thanks again for your time. Congratulations on your beautiful work, all the best for the future!
Thank you so much for this interview.
